Douglas Stanley - Your Voice - Glossary Entires on Registration

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teaching,andthepricelessco-operationofmanyscientistsand hun-

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Thepracticalapplicationofthefundamentalscientificfindingshas

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ofmanyhundredsofvoices.

Theneedforastatementof theseapplications,togetherwitha

descriptionofthelatestmethodsanddeviceswhich canbeem-

ployed,rendersthepublicationoftheboo

imperativeatthistime,

forthebenefitofnot onlythoseteachersandsingerswhoare follow-

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ompleteunderstandingofthescientificprinciplesinvolvedand

theproperapplicationofthedevices andproceduresemployedare

essentialinorderthatthe pupil

vii

svoicemayberadically improved.

                                                                                                                                                                                                                                                                                                                                                                  

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e c t m atte r .

                                                                                                                                                                                                                                                                                                                      



C O N T

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vn

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33

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C H A PT R

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T (T H E

8)TongueM uscls e( 7 3 )  D a r

nstrument(75)E

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NT O F T H E

e g i srta t i n o ( C o n t rloo f I

Tone(7 4)

e g i set r s ( 1 0 0 )I

BalancingofR

4. D V E

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pen ing s

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( 1 04 )  " O

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pen i n gs

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artilage(111)ManipulationsforDisplacedLaryn

e d - rg ei s t reV

51

5

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8

103

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ands Py -

n c o r rcet

ed

     



                                                          

(111)

o i c e s ( 1 2 )  U n b laa n c d e

egistration(114).

42



                    

e g i srta t i n o ( 1 1 0 )  S e p a r a t i o n foH y o i d B n o e a n d T hryo i d

ingWithMi

   

(104)

a n d Q u ai lt y C h a n ges

TeachingMethodsandMuscularDevelopment(109)Mi

or





cholg o i c a l Por b l e m s(107)LoudSinging(10 8)I

W

      

Tons e( 1 0 1 ) 

egisters(102).

venlyRisingScaleofI



)ThyroidM anipu la-


tion,DevelopmentofLowerR

ThyroidManipulation(100)O

 

yoidBone,

LA R Y N G A

n t e nist y ) ( 8



)

yoidBoneManipulation(84)

ProperUseofTongueI

LO PM

 

7).

TO N GU

uilibrium(78)TonguePosi-

tion(79) TheTongueandThoatiness(81)H

PositionofLaryn



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    



                                              

      



                                                                                 



  



    





                                                                                                   

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

   

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awLoc

(142)J awTrem olo(142 )J

                                      

P o s iito n a n d Nce

(Midd l e P o s iito n )

awandLip s ( 1 4 3 )  D r o-p

pingtheJ aw(145 )Passingh Troug hJ

awManipulation(147)C

Technic,Nec

M ucs l es ( 1 3

ead,ChestandNec

eadandSpineA

M u s cel s E

andN ec

cessivelyDroppedLaryn

( 1 3 7 ) Trho a t y S i n g i n g ( 1 3 7)H

awLoc

(147)

o-ordination(150)Throaty

Whistling (150).

8. E S TA BL

(P

or-

terno-mastoidMusclesandThroatiness

e d u cito n o f S t e r n o - m s at o i d Tn es i o n b y M a n i plua t i n o

)E

7 .T H E

oicean d

oiceUnn e c essa r y w ihtC

2 7 5 0 4 0 1 3 0 5 1 0 9 3 . p d m / 7 2 0 2 / t e n . e l d n a h . l d h / / : p t t e h l / g o T o g M d G p 8 # 5 : e 3 s 2 u _ 3 s s 1 - e 9 c c 0 - a 4 / g 1 r 0 o . 2 t n s o u r ) t i y h t t i a s r h e . v i w n w U w / n / : p w t o t r h B ( / e e d L e z l i e t i i n i g a D d e n l a g o h t o a G N , r i n o a f d m e o t D a r c e i l n b e u G P )R

bso-

t a g e o f Pref e cito n ( 1 3 1 ).

S H I

Y C H O L O G

NG T C H N

C A L I M PR O V E M

NT

   

C A L F A C T O R S ) 152

o n s coi u s C o n t r o l o f M ucs l e s U s d e i n P h o n tai o n I

m p ossi b l e

 

(152)LimittoUse ofManipulations(153)Psychologi-

calF actor(1 53)FaultyE

arandBd a T e c h nci ( 1 5 3 )  I

hibitionandBadTechnic(154)S

terno-mastoidMusclesandS

elf-listening(154)

elf-listening(155)Technical

P r a cits i n g O u t s i d e S t u d i o H a r muf l ( 1 5 5 ) F

oiceWithoutI nterp r e t ie vA

9. R P O B L M

G o i n g Trho u g h t h eF

O F

ine

b i l i t y (5 15 ) .

R E G

a l s etto ( 1 5 7 ) I

ditin oofLowerRegister(1 58)NoI

u t i l iyto f F

S T R A T O N 157

n t e nist y R i s e s w i t h A d -

n t e nist y O v e r l a p o f

   

egisters(159)ThyroidManipulationinGoingThrough

a l s etto ( 1 5 9 )V



                                              

n-

o w e l Msut B e H e l d C

y o i d Bn oe M a n iu pl a toi n a n d G oni g T h r og uh F

a l s etto ( 1

0)Baln a c i n g R e g i s t res i n W o m e n

sV

oices(1

0)R



                                           

onstn at(159)

e l a tvi e l y



 



 

 



 

 9 .P R O B L M

O F

R

E G

S T R A

Wea

M i d del T o n e s Ua nv o ia db l e a t F i r s t ( 1

L o w reR

e g i setr M o r e D n ageru osthanNn oe(1

T

2)A .Little

e d R e g i srta t i n o(1

e g i srta t i n o(1

(1

4)E

4)Perm a-

4)Temp o r a rl iy I

limin ationofM i

nducd eMi

ed"

5 )  U s e o f F a l s e t t o f o r M id dl e T o n es(1

M i d del

5)O

ed

Register

c t ae vR

f l e cito n i n P e rofr m acne ( 1

5)UseSongsofLimitd eR ange

inE arlyStages(1

)  M a i n t ani N o r mlaT e s s iut r a ( 1

1 0. V I

B R A T O A N D R T E

i b r aot ( 1

7)E

Tremolos(17

(17

uality,V

) D i f f eer n c e o f V i b r a t o f r m o T r e m loo ( 1 7 7 )V

C

).

   

iolen t

oiceMovementandR

i n R e p r ou dc t i o n1( 7 7 ) G r a etV

e-

M O L O 1 7

limin a t i o n o f rTe m ool ( 1 7 5 ) V

)Q

eproduction

inging(179)C

oicesRelatie vlySteady(178)

onstrictionParticularlyDestructiveto

GreatVoices(180 )C

o n t rloo f I

n t e nist y ( 1 8 0 )F

a l s etto

a n d V i b r a t o ( M a l)e( 1 8 1 )  F a l s etto a n d V i b r a t o (

e m ael )

(181).

1 1 . M X E

D R E G

S T R A T

O N 18 3

L e n ght a n d T e niso n o f V o c a l C

o r d s C o n t r o l s Ptic h ( 1 8 3 )

Thyro-arytenoidMuscles(183)E

uilibriumofLaryngeal


Muscles(184)Mi

edR

(185)E

ffectofLower-registerE

terV oices(1 93)" Brea

s

limination(190)Length

A

o l u m e foM i

e d - rg ei s -

r e N o t N ee c s s airl y B a d ( 1 93)

nton ationan d Q u a l i t y1( 9 3 )  S i m i lrai t y o f M i

ordin a t e d R e g i s t r tai o n ( 1 9 4)C

edandCo-

o m p ltee C o - odr i n aito n S e l -

domAttained(19 4 ) P r e mtau r e E l i m i n a t in oo f B r e a

limi-

n a t e s V o i c e ( 1 9 4 ) Pure"

s t a bi ls h e s

Open

e g i srta t i n oE

GoodQuality(19 5)E limin ationofEitherRegisterisDe-

s t r u citv e ( 1 9 5 ) R e l a toi n s h i p o f H y o i d Bn oe a n d T hryo i d C a r -

t i al g e1( 9

)Mi

e d R e g i tsr tai on a n d iPt ch A d

u sm t en t(19

)

Proper TechnicMoreDifficultThanThoatyTechnic(197)

PureF

Mi

a l s etto a n d M i

e d R e g i s t r a toi n ( M a l)e( 1 9 8 )

ed-registerC oloraturas(198)BalancedDevelopmentof

B o t h R e g i s t esr P r o p e r S t r i n g i n g ( 2 0 0 ) U n blaa n c d eR

egis-

t r a t in oL e a d s t o M i

e d R e g i s t r a t in o( 2 0 0 ) O p e n i n g t h e V o i c e

inS

n i t i la"

t a g e s (0 21 ) I

oundofaMi

andMi

p e n ig n

V

eryPrn o o u ne cd(201 )

ed-rg e i s t reT o n e ( 2 0 2 ) O n e - r e g i set r S

e d R e g i s t r a toi n ( 2 0 4 ) " M i d d l e R e g i s t e r

ingin g

andBln ed-

i n g t h e R e g i s t e r s (0 24 ) .

12. C O N N

le

C T

Tune(207)C

i b r aot R

(208)R

Ma

(M

LO D

)C

C

L

N

) 20

h a r a tce r itsi c s o f a

onnectingTones(207)Portamentoandthe

un(208 )I

T i mni g

Gie vs

n t e nist y R i s e w i t h A

(209)" Timin g

andJer

o r T ira d 2 ( 12 )"

Givin g

i

S

scend i n g P i th c

      

hythmicPattern(209)MovingfromTonetoTone

( 2 0 9 ) "

"

NG T O N

i b i l iyt a n d L e g tao S i n g i n g(20

andMa

orTriad(2 10)

s ( 2 1 )  V a l u e o f oT n g ueI

Openin g

andSlurring(213 )A

o ie cS



                                                                                                                                                            

p l a n tai o n o f O c t a v e R e f l e c t i n o

o f V o c a l C o r d s a n d Q u a l i t y ( 1 9 2 ) V

I

  

egistrationandThyro-arytenoid

M u s cel s ( 1 8 4 ) MuscularEx



                                                 

ibrato

oloraturaTechnic-V ibratoandTremolo(178)Pianis-

simoS



                                                           

3)Lower

e g i set r M u s t B e C a r r i e d U p t o rPo p e r Ptic h ( 1

nentMi

    

O N ( C o n t ni u e d )

                                                       

n s rt u m e n tof r

low l y ( 21 2 )

c c u r ay co f I



nton ation(2 13)



  

       

 1 2 . C O NN

C T

NG TO N

S

( M L O D

C

L

N

      

) (C o n -

tinued)

L o w re- r e g i s t e r Tira d s f o r W o m e n

o w esli n M a

sV

( 2 1 4 ) F a l s e t t o Tira d s f o r F e m a l e V o i c e ( 2 1 5 )  V

Used(21 )Ma

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                                                                                                                                                                                                                                                                                               

    

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

   

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    


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h e n eevr w e m a

eamovem e n t w e t esne m u s -

                                                                              

ethereversemovementanothergroupofmuscles

comesintotension.Thus,ifonemoveshis armoutward,themuscles

whichaccomplishthisgesturecomeintotension andthemuscleswhich

moveitin w a r d aer r e l a

ed.I

f t h e a r m i s t hn em o v e d bca

again

inwardsthemuscleswhichaccomplishthis gesturecomeintotension

andthemu sclesw h i c h m oevd i t o u t w a r d a r e r lea

e d . H e n c e , t h ee s

twogroupsofmuscles themuscleswhichmovethearminwardsand

thosewhichmoveitoutwards areinantagonism,i.e.,theyareantago-

nisticmuscles.

imilarly,theinspiratorymusclesareantagonistictothe e

muscles.A



piratory

gain,thethyro-arytenoidmusclesareantagonistictothe

crico-thyroidmusclesandthearytenoidmuscles.E


uilibriumisestab-

         

lishedwhenbothsetsofmuscles areintheproper balanceoftension.

Thesamethingappliestothe musclesofthetongue.

nincorrecttechnicthe antagonisticmusclescomeintotensionand

t h e m ucs l e s w hci h s h o udl b e i n t e n soi n r e l a

. T h u s ,of r e

a m p l,ew h e n

themusclesofthechest comeintotension,themusclesofthe dia-

phrag mandthebc a

r i b s r e l a , i . e . , isnp i r tao r y t e n s i o n i s l ots. E

ces-

sivetensiononthethyro-arytenoidmusclesisassociatedwith relative

rela

ationofthecrico-thyroidandthe arytenoidmuscles.Tensionon

thenec

musclesisassociatedwithrela

ationofthegenio-hyo-glossus

muscles.Theantagonisticmuscleswhichchangethephysiological

patternofphonationshouldberela

ta

ed.Themuscleswhichshould

epartin phonationmustbedevelopedintheirproperco-ordination.

tmosphericPressureisthepressureofthe airparticleswhichsur-

roundtheindividual.I

tvarieswiththetemperature,elevation,etc.

oundistransmittedthroughtheair bymeansofperiodicvariations

ofpressurebroughtaboutbythe movementsinspaceofthevibrator.

Thevoiceisactuatedby meansofthebreathpressure,i.e.,thebreath

1

                                                                                                                                                                                                                                                       

          

                                              

  

       

                          

pressureishigherthanatmosphericpressureand theairabovethe

laryn

isatatmosphericpressure thelossofpressuresuppliesthe

energywhichactuatesthevoice.

ttac

e

mean stheincep t i o n , ros t a r t , o f te ht o n e . W h e n t h e atta c

                                                                                                    

is

ecutedproperly,allthemusclesusedin phonation,i.e.,themuscles

o f t h e l a rny

, p harn y

a n d t h roa

intoprp oerly"timed

Properattac

onesi

(insp i r a t roy a n d e

t e n soi n a s a s i n gel u n i t a t j

p i r aot r y ) , cm oe

usttheprp oermom ent.

implie sinstantaneous(actuallyinthetime intervalof

thofasecond) establishmentofthecenterofpitchof thetone

tobesung.Thispitch shouldbeattac

edinthecenter ofloudness

withadefiniteandclearlydefinedvowel,or

uality.

pand ingtheDip a h r am g Throu ghtheAttac

Thetensin oonthe

laryngealmusclesmustoccurasplit fractionofasecondbeforethe

establishmentofthetensiononthemuscles ofthethora

:Diaphrag-

maticandbac

ribmusclesmustcomeintotension

whiletheattac

isoccurring,andthis gesturemustbecontinuedfor

                                                                       

moveout

ashortintervaloftime (afractionofa second),afterthesound

hasstarted.

er

edTh e t em r "

a tat c

"

i s n toa g o d o o n eot u s .eI

t h e t o n eh s o u l d b e sat r t d e w i t h a b l o w ros u d d e n j e r

accomplishedattac

.I

timp lie s t h ta

n p r o p rel y

thesingergoessmoothlyfromrelativerela

a-

tion(optimumtonus)intoopeningtension.Thisopeningtension


mustbeinitiatedwiththe propertimingandmustbeestablished

                                                                                                                                          

andheld.

nthejer

e d atta c

t h e isn ge r g e o s wi t h a j e r

frm o t e sni on 

pre-tension,whichhasbeenestablishedbeforehandintoreverse

t e n soi n . T h u s,ifhej

er

stheattc a

sion.h T e h a r dreh e j

er

s , t h e m oer p r o n u oncedth iswron gtensin o

h e w i l l etsa b lsih c o n srti c t rot e n -

willbe.

llj

er

edattc a

sareassc oi a t d e w i t h a p i th c s l u r . T hsis l u r m a y

berapid ,buttheslu roccurs

t h e r feo r e ,ht e a d

ustm e n t i s i n c ror e c t

fromthelaryngealaswellas fromthepharyngealpointofview.

L e a dni g w i t h t h e T h r o ta I

t i s t r u e t h a t lal t h e m u s lce s u s e d i n

phonationshouldcomeintotensionsimultaneouslyatthemoment

ofattc a

,buttheten s i o n a t t h e lray n

s h o udl o c c u r a s p ltif r a c toi n

ofasecondbeforethe establishmentoftensiononthemusclesof

t h e t h oar

,i.e.,b e f o r e te h"

out

gestu reofthedip a h r am g andthe

lowerribshasbeencompleted.Thus,thesinger should"

startthetension,withthethroat.H

lead,

i.e.,

eshouldnotestablishthe breath-

ingtensionfirstandthen endeavortoclosetheglottis.I

fhedoeshe

willinevitablyblowbreath,becausetheglottishas notbeenclosed

f o r t h e atta c

ing

.A

saresultofth i s , h e w i l l g o itno c o n srti c t in o. "

i n d ia c t e s t htat e n s i n o onthelarn y

s t a rstt h e a t t c a

                                                                                                                                               

Lead -

,even

thoughthetimeintervalis veryslightindeed.

lurrd eTherearetw ooreventh r e e t y pseo f s l u r r d eattac

generallyoccursimultaneously.Pitchmaybeslurred

2

.They

intensitymay



  



                     

    

                                                                                                               

beslurred,i.e.,thesingermaystart softlyandbuildupthe loud-

nessofth etone

thevow elmaybeslu rred,e i .. , t h e rseo n a n cead

mentmaychangeduringtheattac

ust-

an dafterthetonehas been

started.

Becauseproperco-ordinationofthelaryngealmusclesdepends

uponpitchandintensity,thisad

isslurred.I

attac

ustmentisincorrectifeither one

fthevowelsoundis notestablishedatthemomentof

,theresonancecavitiesarenot properlyshapedforthegiven

vowelandtheresonancead

ustmentisinaccurate.

Pitch,vowelandintensityshouldbeestablished,andabsolutely

definedatthemomentofattac

,otherwisethetonecannotbepro-

ducedproperly.



B

BalancedTensionW hentwogroupsofmuscleswhichfunction an-

tagonisticallyinphonationcomeintoe

ualizedtension,theyare

balanced.Whenbalancedtension occurs,thesystemisin e

Thus,whenthe"

e

outandbac

u a l ld eb y t h e "

"

tensiononthebac

o u t a n d f row adr

uilibrium.

ribmusclesis

t e n soi n o n t h e d i p ahrg am,ths ee

twogru o p s o f m ucs l e s a r e blaa n c d e . W h e n t h e t h y riod p u l l i s e

izedbythearytenoidpull,i.e.,the registersaree

t h e l a rn y

isinbalan c e d t e niso n , e t .cI

ual-

uallydeveloped,

n c o r r e tct e c h n i ,ct h e t e niso n s

arebalanced.


B r e tah  E

u i l i biru m o f t h e B r e a tihn g M u s lce s  W h e n t h e v o i c e i s por -

d u c e d por p e ryl , t h e b raet h i n g m u s c lsea r e i n e

tensionisbalancedbyinspiratorytension

u i l i biru m : E x

alsothe"

pullofthed i a p har g m tai c m u s lce i s b a l a n cedbythe"bac

out

wardan d

pullofthem uscls eo f t h e l o wrer i b s .

When e

uilibriumofthebreathingmuscleshas beenestablished,

atthemomentofattac

hold

,itmustbe retainedduringphonation.The

m u s t n tob e l o s t . T h ediaph ragman d r i b s m u s t ntom o v e  i n ,

up,downorout.A

arela

p i r aot r y

forwardandout

nymovementwhateverofthesemembersindicates

ationoftheinspiratorymuscles.

Thus,thesingerwhoproduceshis voiceproperly"

holdshisbreath

whileh eissingin gandincra e s e s t h eet n s i n oofthis" hold

inorder

tosingmorevigorously,i.e.,raisethepitch orlessentheintensity.

B r e tah e

p u l soi n i s , t h n e,onlyth ee

h a u s. tT h e a i r w hci h e s c ae ps h a s

lostitspressureaboveatmosphericpressure.I

tescapesbecausethe

vocalcords(valve)haveopenedslighdyinthe openingphaseoftheir

vibration.

ocalizedBreathS

omevocalteachershavepropoundedafantastic

theory.Theystatethatbreathisblown outbymeansofthee

pira-

torymusclesandthatafterit haspassedthroughtheglottis(vocal

c o r d)s, i t b e c o m es"

v o c lai z e d ber a t h .

Theyth in

carriessound,butsoundtravelsat 1100feetasecond

                                                                                         

thattheb reath

forthe

breathtotravelatthis speed(750milesanhour),the singerwould

havetoblowmorethanten timesashardasthe worsthurricane:

                                                                                                                                                                          

toblowtheaudienceoutof thehallto blowtheauditoriumitself

intobits.

                                                                                                 



  



    

                                   

romthisridiculousnotion,theytell pupilstodirectthis stream

of"

vocalizedbreath

etc.Th eoris eo f "

themas

into,oragainst,somepartofthe mouth,head,

v o ie cplacem ent,

ue,

h a r d p aal t e ,

put

s i n gni g i n

p l a cni g t h e v oci e a g a isnt t h e

p l a cni g t h e v oci e f o r w ard,

basedu p o n t h i s flal a c .yV

or"

n a s lar e s o n n ace,

f o c ussi n g t h e o vice, "

e t c . , rae a l l , m roe o r l e s s ,

oiceisintheth r o a t  i t c a no nt b e "

p l a cd e

                                                                           

a n y w h ree .

 

BreathC ontrolisemployedbyteacherswhobelievethat thevoice

s h o udl b e "

drivn e,

o r a c t utae d , b y maen s o f a b l atso f a i r , w hci h i s

controlledbymeansofthebreathingmuscles.

When theinspiratorymusclesaretensedandthe e

piratorymuscles

a r e r e l a e d , a n d vci e v e r s,at h e g l otti s o p e n srefle

l y a n d t h e b raet h

canthenbechec

edonlybymeansof constriction(i.e.,tensiononthe

m u s cel s o f t h e n e c

).Whenthisnec

t e n soi n h a s b e n eestab lishd e,

soundcanbeproducedbyblowingthe breaththroughthisconstriction.

Underthesecircumstancestheintensityofthe toneisproportionalto

t h e s p ed eo f t h e b r e tah e

p u l soi n .

When thevoiceisproducedproperly,intensityis notdependent

upontheb reathe

e

p u l s in o. I

nfact,them a oun t o f b r e aht e

p e l ld e( t h e

haust)becomeslessastheintensityincreasesfrom ppto/,provided

thethra otisopen e d a n d t h e nce

B r e tah E

m u s lce s a r e r eal

ed.

p u l soi n i s t h e r a t e taw h i c h t h e b reathise


p e l ld e, o r e

h a u setd

duringphonation.

When techniciscorrect,and themuscularsystemofthevoiceis

highlydevelopedandproperlyco-ordinated,breathe

low.I tisafunctin o ofthel arn y g e lam u s c l s e. A

  

pulsionisvery

                                                                                                                                                                                     

s i n g rew h o s e vioc e i s

reallywellproducedcanholdalmostany toneinhisvoice,at normal

inten s i t y ,of r a b o u t 2

-30secn o d s . I n c o r r e tct e c h nci b r e a t h e

p u l soi n

increasesasintensitydrops,sothat onecannotholdaslong atlower

intensities.H owever,onecansustainatonelong enoughtosingeasily

anymusicalphrasethathasever beenwritten.A

ten-se condphrase

isactuallyalong oneinmusic.

B r e tah e

p u l soi n i s a p t t o r i s e w h e n t h e v ioc e i s i n t h e p r c oe s s o f

open ingup. W

henasudd en"

open ing

o c c usri t i s a p t t o r i s e s u d -

denlytoadistressingdegree,becausethe controloftheconstriction

hasbeenlostandthe arytenoidmuscleshavenotdevelopedsufficient

strengthtoclosetheglottis atthisstageof laryngealdevelopment.

urtherdevelopmenttrainingalleviatesthis condition.

Whenthevoiceisth r o a t y te hb r e a t h e

p u l soi n m a y b e v rey l o w

indeedinfact, incertaincases,thethroatierthe voice,thelower

t h e b r etah e

p u l soi n . A t a n e

t r e m e sat g e o f c osnt r i cito n a s i n grem a y

beabletoproducea mostunpleasantlittlenoiseforas longas50-

0

seconds.

t i s g o o d w hn eb r e a t h e

p u l s in oi s l o w p r o ivd e d t h ethroatisop en.

t i s b a d w h e n te ht h r o a t i s col s e d .

BreathPressureTheair abovethelaryn

isatatmosphericpressure.

irinthe lungsisaboveatmosphericpressure(compressed)because

theglottisisclosed andthebreathingmusclesarein tension.The

4

     

                          



  



    



pressureofthebreathbelowthe laryn

closureoftheglottis

                                                                                                                                      

depends,primarily,uponthe

thespacebetweenthevocalcords.I

ftheglottis

isclosed,thebreathpressurecan beraisedbymeansoftension onthe

inspiratoryandthee

piratorymuscles.Theglottisdoesnotclose,if

theinsp i r a t roy m u s lce s a r e r eal

iss

ed,e

c e p t t o t h e dg er e e t o w h ichit

u e e zd et o g e te hr b e c a u s e o f t e niso n o n t h e m uscls eo f t h e n e c

.

Theforcewhichactuatesthevoicei sthepressureofthe breath

notthebreathitself(not abreathblast) providedthevoiceispro-

ducedproperly.I

tisthe lossofpressurethatis changedintosound

energy.Thisissimilarto asteamenginedrivenbymeansof thepres-

sureofthesteam notbymeansofa blastofsteam.

B r e tah i n g i s t h e i n s p iar t i o n (at

ofair.I

tisnotphon ation .I

ingin),n ade

p i r aito n ( l etti n g o u)t

n t h e b r e tah i n g a tct h e g l o tits ( t h e s pcae ,

bedrawnintoande

pelledfromthelungsonlywhenit isopened.

Theindividualwoulddieofsuffocationif theglottisweretoclose

duringthebreathingact.Theglottis mustbeclosedforphonation.

When thebreathisinspiredthe inspiratorymusclesbecometense

a n d t h e l ug ns e

pand.Atthesametim ethee

W h e n t h e b r e aht i s e

piredth ee

p i r aot r y m ucs l e s r eal

.

p i r aot r y m ucs l e s b e o c m e t esne a n d

thelungscontractasthe inspiratorymusclesrela

.Becausethisact

continuesallduringlife,the co-ordinationofmuscleswhichoccurs


forit,hs ab e c o m eer f l e

. W h e n p a r t o f t h e r elfe

initiated,theotherpartoccursrefle

ande

c o - rod i n tai o n i s

ly.Thisiswhyboth inspiratory

p i r aot r y m ucs l e s m u s t b e i n t e n soi n f o r p h n o a t in o. I

fonlyone

setofthesemusclesbecomestense,the breathingactisinitiated,the

glottisopensandtheproductionof sound,withoute

ternalinterfer-

ence,isimpossible.

BalancedTensionofthebreathingmusclesoccurswhenthe e

t o r y t esni o n i s e

andforw ard

pira-

u a l e d b yht e i n s pria t oyr t e n s in o. A l s o , t h e " o u t

pullofthed i a p har g m tai c m u s lce i s e

outandbc a

ward

                                                                                                                                                                                    

    

oropening,betweenthevocalcords)is opened.Thebreathcan

u a l e d b yht e

pullofthem uscls eo f t h e l o w e r r i b s , ie. . , t h e

torsodoesnotmove.

         

BlowingBreaththroughaconstrictionoccurswhenthetechnic is

throaty.Thisconstrictionisestablishedbydrawingthe tonguebac

intothethroatagainstthe posteriorwallofthelaryngealpharyn

andtensingthenec

s

,

m uscles,whicharesotensethat theyactually

u e ee zthelaryn .Thiscon s t r i cito n e n b alestheth r o a t yisn g e r t o

producesoundbyblowingbreath.

n c o r r e tct e c h nci t h e b r e aht i s "

oldin g t h e B r etah

andthee

F

held,

theinsp i r a t roy m u s lce s r e l a

notblow n.

o r i n s pria t i n o , t h e i n sipr a t roy m u s cel s t e ne s

p i r aot r y m ucs l e s r e l a . T h e e

p i r aot r y m ucs l e s t e n seand

,whenth ebreathise

n p h o n tai o n n etih e r o f t h esetwocn o d i toi n s o c c u r.I

pired .

ftheydid ,

theglottiswouldopenandphonationwouldbe impossiblewithout

theapp l i c a toi n o f e

t e r n lap r e s s u r e o n t h e l ayr n

phonationboththeinspiratoryandthee

5

                                      

. T h e r feo r e ,ni

piratorymusclesmustbe

        



                                                        

       

                                                            

         

tensed.When thesingerphonates,hedoesnotbreathe

he"

 

holds

                 

hisbreath.

oldin g t h e b r e tah

re

uirestn esionn o t h e i n s pria t oyr m u s cel s

forlegitimatephonation,duringwhichtheinspiratoryande

t o r y t esni o n s msut b e i n e

Nec

,C

hestan dS

pira-

u i l i biru m .

h o u le dr M u s cel s t a

e p a r t i n r e sipr a t in ow h e n i t i s

           

accomplishedimproperly.Thesemembersarenotinvolvedinphona-

                                                         

tionorrespiration,whenthetechnic iscorrect.

Thelowerpartofthe lungsisfarlarger thantheupper.Thus,itis

e

p a niso n o f t h e l w o e r p atro f t h e l u n g sthatisessn e t i a.lI

chestandshouldersta

fthenec

,

epartinphonation,the voiceisthroaty.

Plentyofbreathcanbe inspiredifthelowerpart ofthelungsis

filled.W henonlytheupperpartis

filled,relativelylittlebreathis

actuallyinspired.

When theupperpartofthe lungsthesmall partis notinvolved

inthebreathingact,the lossinvitalcapacityis

insignificant.When

itisinvolved,thesinger willinevitablyproducethroaty(bad)tones.

Theimportantfactorinbreathingis theestablishmentofe

andthe"hold

breathta

uilibrium

onthebra ethin g m u s cel s  t h e a c t ulaa m o u n tof

enisrelativelyunimportant.

ut

Gestu r e i n b r e aht i n g o c u crswhn e t h e b r e tah i s d r a w nintothe

lungsbymeansofthe inspiratorymuscles.Whenthe breathisin-


spiredproperly,this"

out

gestureoccurswiththediaphragmand

lowerribmuscles.Thechestand shouldersshouldnotbeinvolved

inthisgesturenor inrespirationorphonation.Theattac

alwaysbemadeonthe"

t h e tat c a

out

shou ld

         

gesture,whichshouldcontinuethrough

                                         

.

onstrictionreferstothroaty(incorrect)singing.

A

toneiscon s t r i tce d w h n e t h e b a s e o f te ht o n g u e d ropsbac

so

thatitvirtuallytouchesthe posteriorwallofthelaryngealpharyn

t t h e s a m e tm i ethemu sclesofth enec

is"

set

.

a r e i n t e niso n a n d t h e j a w

 g e n e r a lyl i n t h e m i d d l e p o s iito n  w h iel t h e m u s lce s o f t h e

chestandshouldersaretensed.Thebreath isblownthroughthecon-

strictionthusformed.Themouthactsas theresonatorofthevowel.



When thesingerproduceshisvoice undersuchconditions,the

registrationismi

ed,providedthatheendeavorstosing loudly.C on-

trolofintensityis afunctionofthedegreeof constrictionclosure of

      

thethroat.W henconstrictionoccurs,theproperfunctionof thevoice

                                                                                       

iscompletelyaltered,andisincorrect ineveryparticular.

ingingonC

onstrictionA

nincorrectlytrainedsingerdeliberatelycon-

strictshisthroatin ordertocontroltone.S

u p o n s uh cnotin osas"

h e a d v ioc e ,

see

choolsoftechnicbased

s i n g ig ni n t h e m a s

c o v eer d t o n s e,

ue,

build i n g o n t h e s fot ,

b r e aht c o n t rlo,

e t c . ,ni t e nito n al ly

thisend .

Thesingerwhoproduceshisvoice

onconstriction,

startsthe

   

                                 



  

    

                                                                                                        

tonesoftly,generallybelowthepitch,andswellsinto it.Thus,he

establishesabsoluteconstriction.H edropshishead.H

eraiseshis

shouldersandbreatheswithhischest,which healsoraises.H

epulls

hisdiaphragmin thuslosingtheholdon thebreathingmuscles.

emayevenpresshis tongueagainsthislowerteeth,thusforcing

i t s b a s e bca

a g ani s t t h e p otse r i row a l l o f t h e l ray n gael p h a rny

somecs ae s h e d ei lb e r tae l y d r p o s h i s l a rny

.I

n

 h y o i d b o n e asfar

d o w n hsit h r o a t a s p ossib l e . H e t h e n p r o c e esdt o s

u e ee zhisvoice

inandout(crescendoand decrescendo)byactuallyregulatingthe

degreeofconstrictionofhis throat.

o o n S h o u t i n g , Bul e s S i n g i n g , T ocr h S

n a t e,do r m i

ingin gcomefrm o a n u n c orod i -

ed,low e r r e g itse r a n d a m o u thresn o a n c e a d u s t mn et . I

n

thecaseswherethepurel owerregisterisused,thevocal apparatus

mayrem a i n h e atlh y , por v i d e d t h a t t h eo viceisnot"heldbac

soundsemittedareunpleasant,buttheyarenot nearlysoin

nor,intheopinionof theauthor,sounpleasantasthe throaty"

ing

ormi

.

The

urious

croon-

e d f a le s t t o s cer a mni g o f s o m e m o r e s e roi u s s i ne gr s . T h e u se

oftheuncoordinatedlowerregisterisnot actuallyasharmfulasthe

useofthefalsetto(posteriorand lateralcrico-arytenoidmuscles)

only.

oupDeGlotteemployedbycertainsinging teacherssomeyearsago,

isstillused todescribeaclic

supposedlycausedbythevocalcords


comingtogether(theglottisclosing)whichoccurs whenthetoneis

attac

e d u n d rec e r t ani c o n d iito n s . h Teclic

tongu estri

clic

occursn olywhn e t h e t o n e i s atta c

toclic

i s a c t u lal y c a ue sdbythe

i n g a g ian s t t h e p s ot e roi r w a l l o f t h elaryn g e a l p hray n

t i s , t h e rfeo r e , e vryin

t o g eht e r  a n e

u n d ob ut e dyl b e i n

uriou s.I

e d i n a b s lou t e c o n s t r i cito n .

e l y a su s m pito n  t h i s a c toi n w o u ld

uriou s,becu aseitwou ldj

causethedevelopmentofnodules.A

.The

f i t w e r e p ossi b l e frot h e v o c lac o r d s

trem elyunli

arthem ,andprob ably

ctually,thisformofattac

may

causethedevelopmentofnodules,notbecausethevocalcords

stri

etogether,butbecauseitengendersactivethroatiness.

o v eer d T o n s e

a r e m uh cthesames a"

h e a d t oe ns

( s e e R e g i s t r tai o n -

e a d R e g i s t e r.)

Thesinger"

covers

thetone,whenhesingsthe middletoneswith

awhite,shoutytechnicandthen goesdeliberatelydar

(dropsthetonguebyrela

-throaty

ingthegenio-hyo-glossusmuscles)forthe

uppertones.

o m e t ecah e r s t lel t h e i r p uipl s t o "

to"

c o v ret h e t o n e

throaty.

placeth e t o n e i n t h e haed

andma

e e v e r y tn oe i n t h e v oci e d a r

-

When thethroatisclosed (constricted)thesingerhasthe

impressionof"

somethinghappeninginthehead.

Thissensationis

merelyamanifestationofconstrictionandmouthresonancead

                                                                                                                                

or

t h r og uh t h e e n trie r a n g e.Thisma ens:"Dropthe

tongu e , h y iod b o n e a n dlaryn

                                                                                                       

ustment.

                                                                                                                 



  



    

             d g e i s a s h r il l, w h iet , p i e r icn g t o n e c h a r a tce r itsi c o f t h e t hor a t ,ym i

                                                                                                                          

ed

registersopranoortenor,althoughothervoicessometimesproduce

suchton es.An

edgy toneismi

e d i n a g r e aet r o r l e s sred e g r e .eS

t i m e s i t i s m i e d l o w rer e g i set r a n d s o m e t i msem i

Manyactivelythroatysingersascendthescale"

onedge

ducingtoneswhichareprogressivelywhitened,mi

ome-

e d f a l stet o .

(bypro-

edandshrilled).

Undersuchcircumstances,thepitchis changedbythyro-arytenoid

tension(mi

edregistration).S

ingerswhosevoicesarewhiteand

t h r o tay a l s o i n c r e ae s t h e i n t esni t y o f a t o n ebymean sof"

byshrillingandmi

e d g ,e

i.e.,

ingitas theyswell.Theresultantsoundmaybe

relativelyloudfortheuppertones,but itise

unpleasant,moreorlessoff-

tremelythroaty,most

ey(oftensharp)andtheintonationis

apttowaver.

uilib r i u m  W h e n t w o o r m oer f o r c e s plul i n g a g ainstec a h o t h rea r e

balancedsothatthesystemis stabilized(doesnotmove),theseforces

areine

uilib rium.

ore

a m p l:eI

whenth e"

n p h o n tai o n ,ht e b r e aht i n g m u s c l e s aer i n e

forw ardandou t

balan c e s w iht , a n d i s e

musclesofthelower,bac

u i l i biru m

t e n soi n o n t h e m u scleofthed i a p har g m

ualto,the"bac

wardan dout

t e n soi n o n t h e

ribs,i.e.,whenthebreathingmusclesdo

notmove.

gain:Eq

u i l i biru m i n t h e l ray n

isestab lishd e w h e n t h eet n s i n oon


thecrico-thyroidmusclesisbalancedby,and e

ualizedwith,theten-

siononthearytenoidmuscles.Thismeansthat theregistrationaction

mustbebalancediftrue,constant pitchistobe maintained.

urthermore,thetensiononthediversemusclesof thetongueand

hyoidbonemustbalanceandholdthe shapingofthepharyngeal

resonancecavityconstantfortheresonationofthe tone.

Thus,eachofthethreeareas oftensionofthevocal apparatusthe

breathingmuscles(actuator),thelaryngealmuscles(vibrator)and

themusclesofthetongueand hyoidbone(resonator)mustbe in

e

uilib r i u m d uirn g p h n oatin oandtheym u s t a l s o b eni e

uilib rium

witheachother.Therefore,whenthevocalapparatusisfunctioning

properly,itisa staticorstationarymachine.E

cessivedevelopment

ofanyonepartof thevocalapparatus(breathingmuscles,laryngeal

musclesortonguemuscles)destroysthee

uilibriumoftheentiresys-

temandtheefficiencyofthe vocalorgansisimpairedor destroyed.

le

i b i l iyt i s i m p otra n t b u t ntoa s a n e n d i n i t s lef . I

t d e p e nsdu p o n t h e

actionofthetruevibrato,which doesnotappearuntilthe technical

developmentisadvanced.A llvoicemovementsaremadeonthe

vibrato.Theycannotbeaccomplishedlegitimatelybeforetheappear-

                                                                                                                                                                                                                                                    

anceofthevibrato.Theyare easytoaccomplish,whentheproper

vibratohasbeenestablished.Practisingforfle

ibility,beforethetrue

vibratohasbeenestablished,onlyleadstoill-definedflutteringup and

8

              

                                                                



 



                 

downthescaleonthe tremolo,andthisisveryharmfulto thevoice

becauseitengendersthroatiness.

o c u sisn g t h e V o i c e  L i g h t c a n b e f o u cssd eandsoun dcanbefocu ssed

          

ifsuitablesoundreflectorsareused,i .e.,suitablydesigned,properly

         

arrangedhard,reflectingsurfaces.Thatnosuchreflectorsform part

ofthevocalapparatus,orindeedany partofthehumanbody,is

patentlyapparent.H owever,iftheindividualbaseshisconceptionsof

v o i c e uo pn t h e n oito n o f " v o c ai lz e d b raet h

Breath),thenotionoffocussingthise

( s e e B raet h  V

o c a lzie d

traordinaryphenomenonmight

arise.

Thetermindicatesnothingscientifically.

orcin g o r P u s h ig nt h e V

o i c e  S o m e p e o p l e b lei e v e t h a t t h e v oci e i s

forcedwhenthesingerproducesfull,powerfultones.This isabso-

lutelyuntrue.A

ctually,mostforcingoccursduringsoft,constricted

           

singing.

Thevoiceisforcedwhenit isthroaty.I

fthebreathis forcedor

pushedoutina blastagainstaconstriction,thevoicei sforcedand

themorevigoroustheblastingof thebreathbecomes,themore

viciouslyisthevoiceforced andstrained.

Thewell-producedtonecannotbeforced.Thefirst re

forcingisthroatiness,orconstriction.A

uirementfor

nyloudtoneproducedunder

conditionsofconstriction(mouthresonancead

ustment)isbadly


forced.Thetonecannotbeforcedwhenthe breathisheld.I

ntrain-

ingthevoice,whenthetone isestablishedsoftlyatfirst andthen

b u i l,t

t h e s i ne gr f o r c s eh i s v o i c,eb e c a uest h e i n i tai l , s o f t tn oe i s

completelythroaty,andthebuildingprocessismerelyprogressive

forcing.

llwomenwhouseonlythe falsettoforcetheirvoices.A

llmen

w h o h aevn o f a l s tet o c o -rod i n tai o n f ocr e t h e i r u p e r t o n es.All

coe vrd e

ma s

ue

o r " p l a c ed

voce

head

ton e s ae r f o cr e d . A l l s i n g re s w o h

e m p lyoa r a d i o t e h cnicandth o s e w h oisn g w h tai s k

nownas"mezza

forcetheirvoicesifthey swelleventotheslightestdegree

andthy ea r e l i

o r w rad V

e l y t o d o t h i s sm o etim es.

o i c e P rd ou c t in o "

v o i c e frow a r d

o r w rad v o i c e por d u cito n

mightm e a n d i se sctin gthel arn y

or"

p l a cni g t h e

a n d g r atfi n g i t i n t h e

mouthorheadhoweverthis factualinterpretationofameaningless

phrasecanhardlybeaccepted.Themost probable,intelligent,inter-

pretationwouldbeforit tomeanamouthresonancead

notin oof"

t h r o ta

forw a r d v o ie cprodu ction ,

or"

p l a c ig nt h e v o i c eof r w rad

ustment.The

g e t tni g t h e v oci e o u t o f t h e

        

c o ne vystheid e a o f a m u s cel w h i c h s h ouldbeintn esion ,rela

oramemberwhichshouldbe holdingine

ore

9

ing,

uilibrium,moving.

a m p l:eW h e n t h e i n s p i rtao r y m u s c l e s r lea

thediap hrag missaidto" give

                                                                                                                                                                                                               

c a n o n l y rseu l t i n d ei lb e r tae l y

throatysinging.

Give

                                                         

durin g p h o n tai o n ,

a n d t h e dai p h rg am a tci m u s c l e i s

                                                                     

             

                              



saidtohv ae "

given .

W h e n t h e r e g i srta t i n omi

aresaidtoh a v e " g i v e.n

t h e t o nu ge m o vseb a c

W h e n t h e m u s cel s o f t h e t og nu e r e l a

and

i n t o t h e trho a t , i t i s s iad t o h a v e " g i v e n .

The

musclesusedinphonationmustnot"

Ham

                   

e s , t h e l ray n g e a l m ucs l e s

give.

ActorThe"ham

a cot r i s no t s o p rea vln etash e w a sni t h e V i c -

torin aerabut,un f o r tn ua t eyl , h i s p l c ae h a s b e n eta



enbythe" ham

singer.

h a r a tce r itsi c s o f t h e " h a m

m,

n,

and"1.

 

                                                                                              

a c t o r aer : 1 . H e h u m s t h econsn oants

2 . H e m o ve s t h e p ict h o n n oevw o e l ( s l rus .) 3 . H e

enunciatesonewordorsyllableata timeanddoesnotweldthe sen-

tencetogetherasasingle unit.4.H

ciats e. 5 . H e o v e-re

toma

eover-articulatesandover-enun-

u a l ie z s t h e s y lal b l s ea n d w o r d s . 6 . H e e n d evao r s

eeachandeverywordand syllableclearanddistinctand thus

destroysthepertinenceandmeaningofthesentence.7.

nover-articu-

latingheaddsvowelsoundsto finalconsonantswhichshouldbeelided

a n d n o t bor

am

e n o f f f rm o theword .

s i n gres d o a l l o f t h s ee t h i n g sandthusds et r o y t h e i m p otro f

t h e m uisc a n d t h e e m otion a l m e ainn g o f t h e t e

t.

e a d R e s o n a n c ee semstoin d i c aet r e s o nn ac e t a

i n g p l ae cinthebrain

cavity.Thisphenomenoncouldonlyoccurifthis cavityweretobe

emptiedofitscontents(thebrains) andifitswalls (theveryhard

s


ull)couldbemovedinto differentpostures,orshapes.

eadVoicemeansmu chthesam e t h i n g a s " h e a d r e g i set r

t r a t in o H

(seeRegis-

eadRegister).

Thefeelingof"

thevoicebeinginthe head

ise

periencedwhen

                                     

 

thetechnicisdeliberatelythroatyand thethroatisclosed.Manysingers

whoemploythistechnicimaginethatthey"

feelthevoiceinthe head.

f s u f f i ice n t c osnt r i cito n i s s e t u p ,o s m e s uh c s e n s aito n c a n b e e

-

perienced,becausethesoundistransmittedmoreeffectivelythrough

h i g hyl t e n s d emuscls e( s e e S i n g i n g i n t h e M a s

eldBac

s t r i cito n . T h e t h r o tay s i n g rec a n "

onthenec

ue).

i n d i ctae s t h e p rcoe s s o f c o n t r o li ln g t h e t oe nb y m e a n s foc o n -

hold

theposteriorwallofthe laryngealpharyn

alwy as a p t t o " h o l d bc a

"

         

thetoneb y m e a n s o f tn es i o n

m u s cel s , w hn et h e t o n ge uh a s b e e n dar w n b a c

a g a isnt

                                            

.Theinhibitedstudentis

b e c asue h e i s a f r adi t o a l l o w h isvoiceto

ringoutfreely,andbecausehe losestheabortivesenseof"

control

whichisprovidedbyconstriction.

o l d c o nevy s t h e i d e a o f m u s lce s " h o l dni g ,

s i o n i n b aal n c e d e

whenth e"

bac

forw ardandou t

wardan dout

10

hold

hold

pullofth e d i a p har g m b aal n c e s w iththe

pullofthebac

brium,andinhibitanymovementofthethora

laryn

ormain t a i nni g , t h erit e n -

uilib rium.h Tus,them uscls eo f t h e t h oar

r i b m ucs l e s t o e satb l ih se

     

uili-

.Themusclesofthe

                                                            

 

w h e n te ht e n s i n o o n t h e a r yet n odi m u s c l s ea n d t h e t hryo i d

                                                      





  

    

musclesretaintheirbalancedtensionandmaintaina definedpitch.

Themusclesofthetongue"

holds

hold

whentheresonancead

ustment

constant,i.e.,theresonancecavitiesassumetheirproperpos-

tureandretainthis posturewhilethetoneisbeing sung.

Theterm"

hold

alsoreferstothe"

holding

oftensiononall the

musclesusedinphonationduringthe singingofanygroupoftones.

u m mni g C o n s o n a n t s Theconson ants"m,

n,

andT

arehum med

whenthehumvowelassociatedwiththemis oversustained.Thehum

mustbepresent,butit shouldneverbeprolonged.A

ham

a c t osra n d s i n g res d e l i b e r a tley h u m t h s ee c o n sn oa n t s t o a

t i n e vtia b l y m a

e s t h e v oci e t h r otay , a n d s h u t s i t o f,fb e c a ues

theintensitylevelofhummingis farbelowthatofnormalsinging,and

themusicallineis unevenunlessthetonessungwiththe mouthopen

are" heldbac

,

c o n srti c t e d n a d p r o dcue d a t t h e l o wel v e l o f i n t e n stiy

establishedbytheintensityofthe hum.

nterferingTensionI

nterferingandantagonistictensionareveryclosely

associated.C ertainmuscleswhichdonotta

intotensionduringphonation.S

recttechnicalad

                                                       

 

gre atmany

ridiculousdegreeandseemtoglory inthisunpleasantformofbad

d i c t in o. I

                                                    

epartin phonationcome

uchtensionsco-ordinatewithincor-

ustments.Whensuch interferingtensionshavebecome

associatedwithphonationforaprolongedperiod,theybecomerefle


Then,tensiononthesemusclesrefle

.

lybringsintotensionthe an-

tagonisticmusclesandchangesthepatternfor thepropertechnicto

anincorrectpattern,i.e.,throatysinging.F

urthermore,suchinterfering

tensionsmaymechanicallyhindertheproperproductionofthe tone.

nterferingtensionmustbeeliminated.

ntonationdesignatesthepitchdefinitionofatone. Thisq

uestionis

complicatedbecauseofthevibrato,ortremolo,pitchvariation.H

ow-

ever,itisthe centerpitchpointofthe vibratothatweperceiveas

intonation.

Thismiddlepitchpointof thevibratoshouldremain

constantduringtheentiredurationof thetone.Theabilitytoestablish

andmaintaintrueintonationisprimarilytechnical

theproper"

stringing

providedthattheearis notfaulty.I

ad

itdependsupon

ofthevocalcords(proper registrationaction)

talsodependsuponresonance

ustment,becauseiftheresonancecavitiesarenot properlycoupled

acousticallywiththevocalcords,theintonationis li

henatonehasvibrato,or for

thatmatter,tremolo,theaccuracyoftheintonationbecomessome-

whatobscured,becausethepitchrangecoveredby themovement

maypassthroughthetonewhichis

supposedtobephonated.This

maygivetotheuninitiateda falseimpressionoftrueintonation.

When thesingerslurshe isvirtuallyneverreallyin tune,becausethe

pitchmemorypicturesbecomeblurred.A

ccurateintonationispossible

onlywhenthesepitchmemorypicturesareabsolutelydefined when

11

                                                   

elytobeinac-

curate.

bsolutelytrueintonationisrare.W

  

                                                                                                                                         





  



    

t h e p i th c i m p r essi o n s i n te hm i n d a r e l i

                     

e t h e k e y s o f t h e pai n o k e y -

board.

Pleasingq

ualitydependsprimarilyuponaccurateintonation.

M

Mas

ueS

i n g i n g i nht e M a s

u e i s a c t u lal y a g r a n dilo

uentnam efora

throaty,nasaltechnic.W henthevoiceis reallywell-producedno

t a n gbi l e s e nast i o n i s e

perin eced,b e c a ue sitisperfc e t l y " f r e .e

When

thevoiceisimpaired,becauseof technicalfaults,sensationsarise,and

asthevoicedeteriorates,thesesensationsbecomeprogressivelymore

c l e alry d e f i n ed.Sensationcn abe"

or"

inthemas

ue

ifthej

felt

i n t h e n o s,eb e t w e n t h e e e ys

a w i s s e t a n d tn es e d i n t h e m iddleps oi t i n o.

Thistensionisdirectedto thefrontoftheface duringphonation.This

sensationisgreatlyabettedwhenthenec

m usclesareina highdegree

oftension,andthiscan beengenderedbydroppingtheheadandby

developingtensiononthemusclesofthe chestandshoulders.

Thesensationofsomethinghappening"

inthemas

ue

isassociated

withthetransmissionofsoundthroughconstrictortension.I

onlytodestroytheq

voice.I

tserves

ualityandpowerofthetone andeliminatethe

thasnothingto dowithresonance.

Mellw o Toneisaton e o f v e r y fni e q

u a l iyt . I

t c a n b e p r o dcue d o n l y w hen

thetechnichasreacheda highstageofdevelopmentanditis the

resultofaveryhighly developedresonancesystem.Thus,thegenio-


            

                                                                                                                                                            

hyo-glossusmusclesmustbedevelopedveryhighlyandtheregisters

developedandco-ordinatedcompletely,oralmostso.Thetoneisnot

white,butitis notoverlydar

ad

andtendstobewhitish.The resonance

ustmentinvolvestheuseofa large,widelyopenedlaryngeal

pharyn

.Beforethestageofdevelopmenthasbeenreachedat which

legitimate,mellowtonescanbeproduced,thepupilhas tosingwith

asomewhatoverlydar

uality,especiallyinthemiddlepartof his

r a n g .eT h e l a t e E n r i c o C a r u s o w a s t h e p e rfecte

a m pel o f m e l l w o

singing.

nyattempttoproducemellowtonesat tooearlyastagein the

technicaldevelopmentleadstoadroppedtongue,hyoidboneand

laryn

andtothroatinessevenactive throatiness.Therefore,itisdan-

gerous.

N

NasalR

ad

esonanceispatentlyabsurdbecausethenasalcavityis anon-

ustable,highlydampedcavitywhichcouldnot,underanycirc um-

stances,functionasaresonator.

Thenasalpharyn

doesformpartofthe pharyngealresonance

system,butthisisnot thenoseit isbehindthenose.

Thefeelingofsomethinghappeninginthenose ise

thej

awisloc

              

                                                                                                                                                      

periencedwhen

e d i n t h e m i d l e p oist i o n a n dthisloc

i n g t e niso n i s



directedintothefrontof theface(thenose),andwhenthe nec

musclesplusthemusclesof thechestandshouldersarein ahighdegree

oftension.

12

           

                                                                                          



              N a s ai lt y i s i n dcue d p r i m arilybym eansofaj

awloc

.Thej

awisloc

ed

inthemiddleposition,or nearlyshut,andtensionisreflectedto the

nose(frontoftheface) fromthistension.

A

nasaltoneisalwaysa badly-producedtone,despitethefactthat

itisapt tosoundringingandpleasantto thesingerhimself.Many

singerswhoproducenasaltonesactuallydilatetheir nostrilsinorder

tohelpalongthis mostunpleasanttechnicalfault.

Nasalityisnotresonance.I

tismerelytheeffect ofanunduetrans-

missionofsoundwavesthroughthenoseinduced bytensiononthe

aw,nc e

,chestan dshould ers.

N a t uar l V o i c e i s a v o i e cwhichis"naturally

peculiarphysicalphenomenon.A

wellprd oucd e.I

tisnota

             

finevoice,evenagreatvoice,can

bemadeifanygivenvoice istrainedproperlyandthe technicalcon-

ditions(musculardevelopmentsandco-ordinations),whichpertainto

agreatnaturalvoiceare induced.

Thus,anyvoicecan,theoretically,bemadeintowhathas hereto-

forebeendesignatedasagreat naturalvoice,providedthatthepupil

isabletolearn

thisprovisois,however,abigone. Generallyspea

i n g , t ael n t  n o t " n a t u r a l v o ie c

-

 o f a h i g h o r d e r i s a n ee c s s ayr c o n -

comitantofbeingabletolearn thetechnic.

fcourse,thereisalso theactual,physicalstructureofthe voice.

Thetypeofvoiceis determinedbythesizeandstructure ofthe


vocalorgans.A

sopranovoiceisofdifferentstructurefrom acon-

traltow h o s e l ayr n

,fore

a m p l,ei s l a r g e,ra n d w h s oe c a vtii e s ( t h e

s t r u cut r e o f t h e haed a n d n e c

nec

a n d f ae c a n d a b i g l a rny

) a r e d i fef r e n.tA

b a s s u sa ul l y h a s a l n og

. A t e n o r g e n rea l l y h s aa s h o r t n e c

broad,narrowfaceandarelativelysmalllaryn

,etc.H

owever,the

naturalsoundofthevoiceis notrevealeduntilacertain stageoftech-

nicalproficiencyhasbeenattained.I

fthetechnicis badenough,a

baritoneorevenabass,maysound li

ismi

athic

eatenor,i.e.,if theregistration

edandthetechnic throaty.Manyaso-calledcontraltoismerely

enedsopranoandmanyacontraltosings sopranobecauseher

lowerregisterisundevelopedandhervoicei sshrilledandthroaty.

Propertrainingrevealsthenaturalvoice,in thissenseoftheword.I

n

borderlinecases(dramaticsopranosandheroictenors),thenatural

voiceisnotrevealeduntil ahighstageoftechnical proficiencyhas

beenreached.A

ctually,awell-trainedvoicemaybepreferabletoa

naturalvoice,

farlessli

cords.I

becausetheindividualwhopossessestheformeris

e l y t o l oe sit.

Nodulesarecomli

egrowthswhichappearatthe edgesofthevocal

nseverecasesitmay beimpossibleforthestudentto sustain

atone,becausethisgrowthstopsvibrationof thevocalcords.E

thespea

                                                                                               

ven

ingvoicemaybeaffected.Nodulescanbe removedby

,a

                                                                                                                                                                                                                                                                                                                        

meansofsurgery,butthisoperationis apttobedangerous,because

ifevenasmallportion ofthecorditself isremoved,theindividualwill

neversingacceptablyagain.

Propertrainingisanalmost surecure,becausenodulesarecaused

bytherubbingtogetherofthe edgesofthevocalcordsas aresultof

c o n srti c t i n o.I

13

f t h e v o ie c i s p r o p elry "

open edup

a n d r e gsit e r d e,

           

                                                                                                     



nodulescanneverform.I

                                                                                       

ftheyhaveformedtheydisappearin a

relativelyshorttime.

Theformationofnodulesisalwaysassociatedwithconstrictionand

generallywithmi

edregistration.Thevictimofther adiotechnic

teach erandofthe"singinginthem as

ue

t e a ce hr , e t c, .e s p e cai l l y

i f h e i n s itss u p o n t h e p r a c t ie c o f p i a nsis i m o n ad"

isli

elytodevelopthisailment.S

m e za zvoce

s i n g ig n,

urgeryaffordsonlyatemporarycure,

unlessthetechnicis radicallychanged,becauseifthecauseis not

        

removed,recurrenceisalmostinevitable.

                                                                               

Noiseindicatesanyactivelyunpleasanttoneespeciallyloud sounds

w h i c h rae s h r i l,ls c r e a m y,thra oty,th ic

,mi

e d r e g itse r , e t .cA

llsuch

soundsareproducedunderconditionswhichrenderit impossiblefor

thesingertoreallymaintainthe centerofpitchwhilehe issustaining

thetone.Thus,aloud,noisytone isalwaysassociatedwitha"

drifting

pitch.

Manysingers,especiallywomen,swellthetonebygoing"

a n d s h rl il i n g o r " e d g i n g

white

i t  t h i s i s m e r ley n o i s.eW h e n t h e s i n g e r

ascendsthescalebyshrilling

averycommonfaultshe ismerely

noisy.

Phonationmeanstheactofproducingtonewith thehumanvoice.Legiti-

matephonationmeanssingingwithapropertechnic.I


whistling.

nec

ndeed,whenthetechnicisreally throaty,thisprocessof

producingsoundismorenearlya



ncontrastto

truephonation,wefindthroatysingingwhichhas beentermed"

           

                                              

intowhistlingthanit istolegitimate

singing.

Pre-tensionindicatestensiononmusclesaheadoftime(incorrectly

timed

t e n soi n )

fore

tionbeforethemomentofattac

a m p l,et h e t e nisn g o f m ucs l e s u s d e i n p h o n -a

,orprematurechangesoftension,

whichshouldoccuratthe propermomentforthechangesofpitch,

b e f roe t h e s e c h angs et a

e p l a c .e

Thistermisalso usedtoconveytheideathat thesingerhasbuilt

        

                                                                         

uptensionthroughoutthemuscularsystemofhis body,consciouslyor

unconsciously(tonus),beforehestartstophonate.

Pullindicatesthemusculartensionwhichbrings anypartofthe vocal

apparatusintoaction.A

ntagonisticmuscleswhichactin opposing

d i r e ci to n s , aer s a i d t o " p u l l

thebac

muscles"

pull

ribs" pull

pull

a g a isnt e a c h o t h er.Thu s,themu sclesof

again s t t h e m ucs l e o f t h e dai p h r g am.Th e a r y t eo ni d

againstthethyroidmuscles.Thethyro-arytenoidmuscles

againstboththecrico-thyroidmusclesandthearytenoidmuscles.

Thechestmuscles"

pull

againstthediaphragmaticmuscle,etc.

W h e n t h e v o i c e i s por d u c d e p r o p rel y , a l l t h e"

other,e

n o t " g i v e ( m o v e.)

-

14

pulls

baln aceeach

uilibriumisestablishedandthemusclesused inphonationdo

                                                                                                 



 



  





efle

ction Therearetw omaintyp e s o f m u su c l a r t esni o n : c n osciu osly

c o n tor l l e d a n drefle

.A

refle

actin ooccursw ithou t t h e c o n s ico u s

directionofthemind.

Breathingisaconsciousact whichhasbecomerefle

.W ecanbreathe

atwill,i.e.,whenandhowwedesire todoso.The digestiveprocess

isaltog e t h e r r fel e

.

W h e n t h e s i n g rea t t a c

s a n d p r o dcue s t h e t oe nc o r r e cl ty a c e r t ani

numberoftimes,histechnicbecomesmoreor lessrefle

techn icbecom essecon d n a t uer ( r e f l e

havebc e o m e r fel e

.Thecorrect

) . W h e r e i n c orre c t a d

,theseun d e s iar b l e r fel e

e s m u s t b e bor

u s t mn et s

endow n

ifthesingeris evertoproducehisvoice properly.

egistrationdenotesthearrangement,orco-ordination,ofthemuscles

ofthelaryn

whichstretchthevocalcordsand holdthemintension

againstthepressureofthebreath.There aretwosetsofmuscleswhich

           

                                                                                              

stretchthevocalcords.Thereare, therefore,two,andonlytwo,regis-

tersthe

alsettoR

cles)andtheLowerR

egister(posteriorandlateralcrico-arytenoidmus-

egister(crico-thyroidandthyro-arytenoid

muscles).Theregistrationactionisprimarilythe mechanismforregu-

latingtheintensityofthe tonewhenthetechnicis correct.

egistrationdoesnotprimarilycontrolpitchranges butratherinten-

s i t y . I t i s t r u e t h a t te hf a l s etto r e g itse r b e cm o esprg o r e sisv e l y w ea

er

asthepitchdescendsand doesnotgoas fardownasthelowerregister.


tisalso truethatthefalsettoregistercan becarriedanoctavehigher

thanthelowerregister.Nevertheless,thetworegistersoverlapthrough-

outthemainbodyof thevoiceandthefunctionof theregistration

actionpertains,primarily,tothecontrolof intensity.Thefalsetto

registerisresponsible,ina largemeasure,fortherange,q

uality,and

softeffectsofthevoice.The lowerregistergivesstrength,powerand

healthtothevocalapparatus.

Baln acedI

nwor

i ngo utt heo v i c e b oht r e g i set r s m utsb e i s o l aet d

andbalanced(openedtogether).Thefalsettomustnotbecarried

upmorethananoctaveabovethe highesttonewhichcanbepro-

ducedinthelowerregister.F

urthermore,aproperintensitybalance

mustbeestablishedandmaintainedbetweenthetworegistersin

allstagesofthe development.Whenoneregisteris definitely

stron g e r t h a n te ho t h e r ,ht e e

u i l i biru m o f t h e lray n

Theregistrationactionmaybeparalleledto thestringingofa

,toal ittlemetalpeg

and,atthefront,to thepin.Thestringis tightened,andthepitch

raised,whenthepinis turnedinacloc

wisedirection,andviceversa.

Thistighteningactioncorrespondstothecri co-thyroidtension.The

firmnessofthelittlepeg atthebac

t e n soi n . I

crac

crac

correspondstothearytenoid

give (move),orifth epinbloc is

e d , t h e pai n o c a n o t h odl i t s t u n i n g.A

edthepianowillnot holditspitch

thebac

15

f t h e p e g w ree t o "

lso,ifth ebridgeis

thebridgealsoconstitutes

a t t ah cmen t o f t h e s t r ig n. T h e b a c

                                                                                                                                                                                           

i s d e s t ryoe d

andthevoicewilldeteriorate.

piano.Thepianostringis attached,atthebac

        

andfrn o t a t t ah cmen ts

         

                                                                                                                                                                                              



                            

ofthestringmustbe firmandhold,ifthe pianoistoretain itstuning.

Botharytenoidandthyroidmusclesmustbestrong ifthelaryn

istoholdits tuning.F

bac

urthermore,thestrengthatbothfrontand

endsmustholdand,ifeither oneoutpullstheother,thestring-



ingisdestroyedandthe pitchwillwaverandbecomeuntrue.

Brea

Thereisa"

brea

,

or"

gap,

     

                                                                                                                                                                                                                                        

b e t w e n t h e t w o rg ei s t res u n t i l

averyhighstageof developmenthasbeenattained.Thebrea

ccursbecausetheloudesttonewhich canbeproducedinthe

falsetto,atanygivenpitch,is notstrongenoughtomeetthe softest

tonewhichcanbeproduced,withoutconstriction,in thelower

r e g itse r , a t t h ea s m e p i th c . T h e b rae

i s m o r e n toi c e b aleinawom an

s

voicebecausesheusesbothregistersi nperformance.H owever,when

shecanusethe lowerregisteruptoaboutmiddle A

orBflat,it is

hardlyapparent,providedthattheregistersarematchedproperly

andtheresonancead

ustmentispharyngeal.Thisisbecausethe

intensityofthisBflat, sunginthepure falsetto,doesnotdropso

muchastods e t r o y te hi n t e nist y l i n e taM .

.

When pure,open,fullydevelopedregistrationhasbeenestab-

lished,theregisterchangeoccursat E

flattopspace onthetreble

clefwhenthe intensityisforte.Thus,insinging upascale,at full

voice,startinginthelowerregister,the changeintothefalsetto

occursatthisE

E

flat,ifanormalintensityline istobemaintained:


flat,sunginthe falsetto,isslightlylouderthantheD natural

belowit,sunginthe lowerregister.A

talowerintensitylevel the

changeoccurslower,andathigher intensitiesthelowerregistermay

beemployeduptoalmostanypitch.

tisabsolu telyds et r u tci v e f o r t h e s i n g ret o e n d e v ao r t o " b l e n d

theregisters,oreliminatethebrea

,attooearly astageofthe

technicaldevelopment,becausethisattemptinevitablyleadsto

mi

e d r e g itsr a toi n , e

Thebrea

e

t r e m e trho a tni e s s a n d u l t i m tae l o s s o f v ioc e .

neednotbea technicalbugbear.I

nfact,littletroubleis

periencedwithit,ifthe trainingprocessiscarriedout properly.

Thisproblemofthechangeof registerandthebrea

becomesopoignantwithmen

aboutn a o c t a v eol w e r t h a n w o mn e

isthesam eforbothse

s.Thetrn a s i toi n t o n  e E

flat

es,andth i s t o n e i s o f hgi h e r p ict h t h a n a n y

tonewrittenintheliteraturefor men

hestV

doesnot

svoices,becausetheyarepitched

svoices.

oicedescribesthesensationwhichsomepeoplefeel,or imagine

theyfeel,forthelowertonesof thevoice.Thetracheaandbronchi

are,indeed,addedtotheresonancesystemforlow tones.Thisdoes

notmen a t h a t t h e " v o i c e i s i n t h e c h e ts.

feltinthech est

o w eevr , v i bar t i o n cn ab e

b e c asue t h e s e cvai t i s e a r e r e s oa nt i n g .Thishas

nothingtodowithregistration.

Manywomenwithbigvoicesusean ill-definedlowerregister

ad

ustmentfortheirlowesttones,evenwhennottold todosoand

whenallproperlyconductedwor

Thisgivestheimpressionofthe lowtonesbeing"

e v e r ,ht e a d

a r e g i set r c h a ne g. S u c h "

1

chesttones.

ustm entchan g e s a n d sm o e t e ah c e r s m itsa

chesttn oes

ow-

e n l y c al lt h i s

arealw ayssom e w h tam i

                                                             

 

onthelowerregisterisavoided.

ed,



  



    

andforthisreasonthey aredangerous,becauseifami

                   

edlower

registeriscarriedup,the voiceisdestroyed.

o-ordinationoftheR

       

egistersTheregistersare co-ordinatedwhen

                                                                                                       

thesingercanswellsmoothlyfromthe falsettotothelowerregister

w i t hu ot a n y q u a l i t y t r a nist i o n o r ber a

o c c usro n l y a t a n e

t r e mley h i g h s t g a e o f d ee vlopm ent.I

attemptedtoosoon,mi

ruined.A

, a n d v i c e v res a . C o - o r d ia nt i o n

fitis

edregistrationensuesandthevoiceis

ctually,co-ordinationoccursmoreorlessautomatically

whenbothregistersarefullydevelopedandbalanced,andwhen

completeopeninghasbeenestablished.Prematureco-ordinationof

t h e r e gsit e r s i s msot h a r mufl . I

toccurswh enthebra e

i s e l i mni a t d e

beforecompleteopeningandpure,balancedregistrationhasbeen

estab lishd e.I

tleadstoe

t r e m eht r o aitn e s,sm i

e d r e gsit r a toi n a n d

completelossofvoice.

a l s etto R e g i s t e r  A

register,

scien t i f ia c l l y p r fee r albe t e r m w u o l d b e " a r y tn eo i d

becausethetensiononthevocal cordsisheld,as thetone

       

isswelledinthis register(throughitsintensityrange),againstthe

                                                                                                                                                                   

pressureofthebreathby meansofadditionaltensiononthearyte-

noidmuscles.Thisregisteris inactionatthe lowerintensitiesand

itbecomesmoreprominentasthepitch rises.Pleasingq

uality,high

tonesandsoftsingingdependprimarilyuponthe properisolation

anddevelopmentofthefalsettoregister.Thefalsettotension"


the" string ing

holds

o f t h e v oa c l c o r d s a t te hi r p o set r i o r atta c h m ent.

Thefalsettoregisterispure when,atanystageofdevelopment,

noaddedtensiononthel owerregistermuscleshascomeintoaction,

andwhn ethereisnom i

e d r e g itsr a toi n .

Thepossessionofapurefalsettoregister isessentialtogood

uality,powerandrange.Nolegitimatecontrolofintensityis pos-

sibleunlessthefalsettois pure.

When thisregisterisundeveloped,thereis apronouncedbrea

betweenitandthelowerregister.

eadRegisterind icats et h e a d

t h e u p pret o n e s . I t

ad

ustm entemp loyd e b y s o m e p uipl s f o r

r e f res t o a p i t c h r a n g e a n d n o t t o a msuc u l a r

u s t mn et i n t h e l a r n y

.

Themiddletonesareoftendesignated"

open

tones,notbecause

thethroatisopen,but becausetheyarewhiteandshouty.This

relativelyloudtypeofsinginggivesan impressionof"

         

openness.

                                                                                                                                                           

Theseshouty,whitetoneswillnotgo up,soadeliberateaugmenta-

tionofthedegreeof throatinessmustbeinducedbya rela

ationof

thegenio-hyo-glossusmuscles.Thedroppingofthetongue,which

accom panis et h i s i n d u c e d c o ntsr i c toi n , m a

f o r e ,ht e y c a l l s u chtons e"

dar

headtn oes

estheton edar

or"

. T h e r -e

c o v eer d t o n s e.

The

nessandconstrictiondoindeedgive theimpressionofsome-

thinghp apen ing"

inthehed a.

Thesingerwhouses"

headtones

or"

coveredtones

cannotsing

alegatopassageandhecannot connecttones,becausehehastobe

constantlychangingthead

ustment.Therefore,heisforcedtobrea

themusicalline.

17



  

       

ead

or"

c o v eer d

tonesshu t o f f t h e v ioc e , m a

   

e i t e v e r i n cer a s -

inglythroaty,andrenderitimpossiblefor thesingertointerpretthe

          

musicartistically.

               

solatedR egistrationisessentialtothe procedureusedintraininga

humanvoice.I

mi

fthisisolationis notestablishedintheearly stages,

e d r e g itsr a toi n e n s u e s a n d t h e v ioc e i s d e srto y d e.I

s o l aet d r e g i-s

trationhasbeenengenderedonlywhenapure falsettoregisteranda

purelowerregisterhavebeenestablished.

L o w reR

register,

e g i setr  A

 

scien t i f i clal y p r eef r a bel t e r m w u oldbethe"thyroid

                                                                                                                                                                                                   

becausethetensiononthevocal cordsisheldagainstthe

pressureofthebreathas thetoneisswelledin thisregister(through

itsintensityrange(loud))bymeans ofadditionaltensiononthe

thyroidmuscles.Thelowerregisterisin actionforthehigherinten-

sitiesandforthe lowerpitches.Thepurityofthelower registeris

dependentuponthepurificationofthefalsetto,andvice versa.A

normalloudnessthelowerandmiddletonesof awoman

t

svoice

shouldbesungin thisregister,anditshould beemployedatand

abovenormalintensity,throughouttheentirerange,inmen

w h i c h rae p i t c hd ea b o u t a n o tca v e l w o erthn awomn e

stageofdevelopment,eventhehightonesofa woman

svoiceshould

besunginthis register,whentheintensityisfortissimo.F


svoices,

s.A tahigh

orpianis-

simoeffectsonveryhightones,a manmaylegitimatelyemploythe

p u r e f asle t t.oA

w e l lp-r o d u cedspa e

i n g v oci e , o f b oht s e

es,is

dependentupontheestablishmentofapure,fullydevelopedlower

register(crico-thyroidandthyro-arytenoidmuscles).

Thelowerregistertensionstretchesthevocal cordsand"

holds

theirstringingattheir anteriorattachment.A llfalsettotension,for

anygiventone,mustbepresentin thelowerregister,ifthevocal

c o r d s aer t o h o l d t h ier "

rela

(mi

s t r i nign g

es,thelw o erreg istermi

p r o prel y . I

esande

f t h e a r yet n o i d tn es i o n

c e s svi e t h y r-oa r yetn o i d t n esion

edregistration)comesintoplay.

Thelowerregisterispure whentheaddedtensiononthethyroid

musclescomesintoplayinc o-ordinationwithallthearytenoidten-

sionwhichcanbemaintainedat thegivenstageofdevelopment.A

thesametime,theremustbe noe

t

cessivethyro-arytenoidtension.

Thepurelowerregistermaybe somewhatcrudeornoisyin

theearlystagesofdevelopment,butwhenit hasbeendeveloped

sufficientlyandresonatedproperly,itmatchesthefalsettoandit is

thenofe

u a l l y pel a s ig nq

u a l iyt .

Match e d R e g i s t r a toi n m u s t b e u n d e r t a e n a s s o o n a s prue , " o p e n ,

isolatedregistrationhasbeenestablished.Theregistersarematched

whentheresonancead

ustment,i.e.,thepositionofthetongue,

remainsconstantforbothregisterssungat thesamepitch,withthe

samevowelandvowelcolor.Thus,whenatonecan besunginthe

falsetto(posteriorandlateralcrico-arytenoidmuscles)atagiven

intensityandalsosungin thelowerregisterat,ofcourse, ahigher

intensity,theregistrationismatchedwhentheresonancead

        

ustment

18



                                      

isthesamefor bothregisters.



  



    

            MiddleR

                                                                                                                                                                                         

egisterdoesnotreferto registrationinthesensein which

thetermh a s b e e n ue sdinthisboo .S

ometec ah e r s n v e e r e sat b l ih s

pureregistrationanddonotpermit theirfemalepupilstoemploy

thepurelowerregister.Therefore,themiddletonesinevitablybe-

cometh ic

andmi

e d . T hsif o r c e,dt h i c

thenemployedforthemiddletones.V

sortofmi

,mi

e d f a l stet o t e c h nicis

erylowtonesaresung ina

edlowerregisteranduppertones inarelativelypure

falsettothisfalsettois actuallyalwaysthroatyanditis alsosome-

whatmi

ed.Thehightonesaregenerallyshrill.

middletonesareverypronouncedlymi

ingisthatth r e e s oc- a l l e d rg ei s t res a p p era: A

forthelowtones,a mi

owever,the

ed.Theeffectofsuch train-

mi

e d l o w rer e g i set r

edfalsettoforthemiddletones,and arela-

tivelypurefalsettofortheupper tones.Underthesecircumstances

therearethreepitchranges whicharecharacterizedbythreediffer-

e n t v o ie cq

u a l iite s a n d t her e d i fef r e n t i n c o r r e tc a d

f c o u r s ,et h i s m i

u s t mn et s .

edmidd l e r e g itse r f o r t h e m iddletn o e s m uts

beeliminated,andpureregistrationmustbeestablishedif thepupil

istolearnhow toproducehisor hervoiceproperly.

Mi

edF

a l s etto R e g i s t e r  M i

e d f a le s t t o r eigs t r aito n o c crus w h e n b toh

thelowerregisterandfalsettoare undeveloped.Thislac

ofdevelo p-

       

mentismorepronouncedatthe thyroid(lowerregister)end,i.e.,

thecrico-thyroidmusclesarerelativelywea

                                                                                                                                      

erthanthearytenoid


m u s cel s . T h e l n egthofth e v o c a l c rod s i s l o o

e d a f t reb y e

c e s svi e

thyro-arytenoidtension.

Mi

edfalsettoregistrationisengenderedwhenthefalsettoregister

issungwithpronouncedconstrictionandpushed

forced.The

resultanttoneisverythroatyand generallyshrill.Thehighertones

maybeloud,sometimesveryloudandveryshrill

lowertonesarealwaysverywea

i s s u n g , te hw o r s e t h emi

oftheton e.A

t u r e a n d te hm o r e u n p l e a sn at i s t h e q u a l i t y

r e l aitv e l y w iderang e m a y b e c oevr e d i n t h e m i

f a l s tet o , b u t t h e h i g hret o n e s a r e m ere" s

Mi

themiddleand

andthin.Thelouderthisregister

e d L o w reR

e g i set r i s s i m ial r t o t h e m i

uea

voice

e d f a l s tet o e

ed

orscrem a s.

ceptins am u c h

asthefalsettomuscles(posteriorandlateral crico-arytenoidmuscles)

aremoreundevelopedthanthelowerregistermuscles(crico-thyroid

andthyro-arytenoidmuscles).Thus,themi

edlowerregisteris

derivedfromthelowerregisterratherthan fromthefalsetto.

Thethyro-arytenoidmusclesareine

afterth epitchad

          

cessivetensionandloo

u s t mn et t o a g r e aet r e

                                                                                                                                     

tentth antheysh ouldif

theywereactingintheir properfunction.

Theq

ualityofami

thanthatofthemi

edlowerisevenmoreharsh andunpleasant

edfalsettoregister.Themiddletonesare very

throaty,generallythic

,andoftenwhite.Thehighesttoneswhich

canbereachedarevery throatyindeedandabsolutelywhiteand

shrill.Themiddletonesmaybe loud,butthelowtonesare wea

a n d t h e h ih gt o n e s aer g e n e rlal y l a c

Mi

e d R e g i srta t i n oMi

,

ing.

e d r e g itsr a toi n o c c usrw h e n b oht t h e f a le stto

andthelowerregisterare undevelopedandtheestablishmentofthe

19

         

          



  

       

                                                                       

pitchbecomesprimarilyafunctionofthe thyro-arytenoidmuscles

(shorteningofthevocalcords).Mi

panid ebye

edregistrationisalwaysaccom-

t r e m e trho a tni e s s a n d u nples aa n t q u a l i t y . W h e n t h i s

conditionispronounced,thereisno brea

betweentheregistersand,

inmanycases,arather widerangeofmostunpleasantnoisescanbe

producedinconstriction.C

ompletemi

edregistrationistheworst

                                                                                              

ofalltechnicalfaults.

Mi

e d R e g i srta t i n o(

nducd e)I

fatoneissungine

tionineitherregister,the muscularconditionofmi

generallyoccurs.A

t r e m e cn os t r i -c

edregistration

voicewhichhasnotbecomepermanentlymi

muscularlycanproducetoneswhiche

ed

hibitthesamephysicalchar-

acteristicsdespitethefactthat thespacebetweenthehyoidbone

andthethyroidcartilagehasnot beenpermanentlyclosed.This

spacecancloseforan e

tremelybadly-producedtone,beforethe

permanentconditionhasbeenestablished.O fcourse,persistencein

suchsingingwillresulti npermanentmuscularmi

Mi

edregistration.

e d R e g i srta t i n o(Perm anen t M u s c ual r )  I

muscularmi

n c a s e s o f p rem a n ent

      

edregistrationthethyroidcartilageis rotatedupward

                                                                                                                     

tomeetthehyoidbone,so thatthespacebetweenthethyroidcar-

tilageandthehyoidboneis nearlyorcompletelyclosed.Thiscon-

ditionmaybefeltby insertingtheinde

bonean d t h e t h yor i d c a ritl a g .eI

fingersbetweenthehyoid

t i n d i c tae s a n e

t r e mley b a d t e c h nic


a n d a p o o r q u a l i t y v oci e .

Theindividualwhodoesnotsing,but whoemploysami

ed

r e g itse r t e c h nicforhissp ea

i n g v o ie c,isoftn efoundtoe

p h y sci a l m a n i f e sat t i o n fom i

e d r e g itsr a toi n . A s p e a

thistypeisof amostunpleasant,harsh,throatyq

hibitth is

i n g v oci e o f

ualityanditfatigues

rapidly.

c t a v e R e f l e cito n B ew t eenth e R e g i set r s  W h e n r e g i s t rtai o n h a s b een

established,thereisane

actoctavereflectionbetweenthefalsetto

andthelw o erreg ister.h T i s i s t r u e o f btoh "

andthroatytones.A

sthelowerregisteris

o p e n  w e l l - p rd ou c e d

carriedupandopened,

thefalsettomustalsobesimilarly carriedupandopened.I

carrieduptoa pitche

       

tcanbe

                                                                                                                                                                                                                       

actlyoneoctavehigherthanthehighest

tonewhichcanbereachedin thelowerregistersungwiththe throat

o p e nd e. F o r e

a m p l:eI

f m i d del G i s t h e h i g h etst o n e t h a t cn ab e

sungwiththethroatopenedin thelowerregister,theG,oneoctave

h i g h rec a n b e s u n g " o p e n

i n t h e f asle t t .oT h e G s h a r,po n e s e mtio n e

higher,cannotbesungwithoutconstriction.

ntheotherhand,if thelowerregisteriscarried upinconstric-

tion,athroatyfalsettoregistercan bederivedfromitoneoctave

higher.Thus,becausethelowerregistercanbe carriedupe

tremely

highifitissun g i n c o n s tirc t i o,ni n c r e d iblyhig h"

tones in

s

uea

thefalsettoregistercaneasilybe found.Double-highC ,oreven

theE

flatabove,caneasilybereached ifthevoiceis throaty

enough.Thisprocedureisterriblyharmful,utterlyfutile

suchs

uea

because

s d o n o t c o ntsi t uet s i n g i n ganditmustbeao vided .A

ll

tones,inbothregisters,mustbe opened,andonlyopenedtones

N

20



 

                    

sung.Bothregistersshouldbecarriedup relativelyslowly,onesemi-

toneatthetime.H

owever,theoctavereflectionmust,atallstages,

bemeticulouslyadheredto,ormi

edregistrationandthroatiness

willresultwiththeaccompanyinglossof voice.

Theoctavereflectiondoesnotapplyto men

svoices,becausethey

cannotputforthsufficientenergytoproduce loudenoughtonesat

suchhighpitches.Physiologically,however,itistruefor bothse

UnbalancedR

es.

                               

egistrationisunbalancedwhenbothregistershave

beenisolatedandestablished,withonemoredevelopedstronger

thantheother.I

tisabsolutelyessentialthatthis conditionbecor-

rectedimmediately.Nofurtherdevelopmentofthestrongerregister

shouldbepermitted,untile

ualizeddevelopmentbetweenthetwo

registershasbeenestablished.Thisisnot co-ordination.I

tisa con-

ditionwhichmustpersistthroughall stagesofthetrainingprocess,

onceithasbeen established.

ela

ingtheTh roatI

fthethra otwerera e l l y r eal

n o t p r ou dc e s o u n d . S e e F o r w rad V

ed,asing ercould

o i c e P rd ou c t in oa n d F o c u sisn g t h e

oice.

fpropn o e n t s o f tihs n o t i n omean"rela

                     

t h e m ucs l e s o f t h e nce

itwouldbemuchbetter tosayso,becausethesemusclescome intoa

                                         

highdegreeoftensionwhenthemuscles ofthethroat,i.e.,genio-hyo-

g l o su s s m u s cel s , r eal

.


Whenthetongu eisrela

edtheton e i s t h r o ayt . T h e t h roatisthe

resonatorofthetonein goodtechnic.I

tisonlyout ofactioninphona-

tion,whenthetechnicis bad(throaty).

e s o nn ac e A d

forthepic

ustm e n t i n dci a t e s t h e s h a p ig no f t h e r e s n o a n c e cvai t i s e

i n g o u,to r r e s o n ation ,oftheban dsoffre

determinethevowel.R esonancead

u e n cei s w h i h c

ustmentispossibleonlywhenthe

cavitiescanassumeawidevarietyof shapesandsizes.

orthehumanvoice,resonancead

ustmentismadewiththepharyn-

gealcavitieswhenthetechnicis correctandwiththemouthwhenit

isthroatyincorrect.

e s o nn ac e a d

ustm entimp liesthe"tuning

mouthforthe resonationofthevowelbandsoffre

o f c a v i te s  p h a r n y

uenciesofthe

particularfundamentalanditsovertoneswhicharegeneratedatthe

l ay rn

.

Open

Ma

o r O p e n i n g  M o s t v oci e s a r e c o n s t r i cetd , o r t h raot y , a t t h e

startofthetrainingprocess.A

firstma

orchangefromconstrictor

toopeningtensionmust,then,beengendered.Thetonguemuscles

(genio-hyo-glossusmuscles)mustbebroughtintotension,and

whenthisactionisestablishedfor thefirsttime,thevoice suddenly

open sup

t o a v e r y m ra

e d d e ger e . T h e i n c r e ae s i n p o w re, w h i c h

resultswhenaconstrictedvoiceopensup, maybeverystartling.

Thisopeningoftenoccurssuddenly.I

opening,

21

tmaybetermeda

ma

or

                                                                        

or



anditmustbe metwithaverypronouncedincreasein

                                        



  



    

t h e e n reg y o r " d r i v e

       

w h i c h te hs i n g e r msut p u t i n t o t h eprodu c-

 

tionoftone.

penToneoccurswhenthetonguehas pulledawayfromthepos-

teriorwallofthelaryngealpharyn

                                                                 

andhasthusopenedthe

throat,i.e.,whenpharyngealresonancead

ustmenthasbeenestab-

lished.

Unfortunately,somepeoplebelieveopentonesareproduced

onlyinthem iddlern a ge o f t heo vice.B y"

opentn oes,

these

peoplemeanrelativelyloud,white,shouty,throatytonesandnot

tonesproducedwiththebaseof thetonguedrawnawayfromthe

posteriorwallofthelaryngealpharyn

.

When thevoiceisproducedproperlythe middletonesare

sligh tlydar

erthantheh i g h t o nse. H o w eevr , t h e s clae c a n b e

ascendedwithoutanytransition,orsuddenchangeofad

ustment,

andwithanevenly-risingintensity.

pend eUp"

opened

pend eup

i n d ia ctesaton e s u n g w iht t h e t h r ota

whenthebaseofthetongue isheldforward,awayfrom


onthegenio-glossusmuscle

,becauseoftension

         

andthehyoidboneis heldinposi-

                                      

tionbecauseoftensiononthe genio-hyoidmuscle.Whenthe

toneisopenedup,the resonancead

ustmentispharyngealandthe

mouthcavityisoutof actioninphonation.


peningoccurswhenthegenio-hyo-glossusmusclesdevelopand

thetongueispulledawayfromthe posteriorwallofthelaryngeal

pharyn

.Thestrengtheningofthesemusclesoccurs instagesand

shouldbesynchronizedwiththelaryngealdevelopment.Thus,

perid oic"

open ings

ta

e p l a c .eE

achtimen a o p e nni g o c c usra

largerresonancecavityisemployed.Thefirst"

opening,

earlystageofthetraining,is verypronouncedandma

changesoccur.S

       

inthe

orvocal

                                                                                             

uchopeningsvirtuallynevercease,butthey

becomelessandlesspronouncedastechnical perfectionismore

n e a ryl a p p r o

i m aet d .

verytimeanopeningoccurs,thepowerof thevoiceincreases

a n d t h e q u a l i t y i s i m por v e d t o a mra

e d d e ger e . A t f i r s t t h epower

increaseismostpronounced,butthis effectbecomeslessasthe

voiceprogresses.Lateropeningsservetoimprovetheq

uality,i.e.,

themellownessofthetone,ratherthanto increasethepower

whichonlyaugmentsslightlyafterrealopeninghas beenattained.

Pharyngealresonancead

ustmentisemployedwhenthetechnicis

good.Thepharyngealcavitieslaryngeal,oralandnasal

shaped,or"

tuned,

are

toresonatethetone.Thepositioning,or

shaping,ofthesecavitiesalterswitheach changeofpitch,vowel

o r v o wlec o l o r . F o r t h e l o w e s t tn oe s , t h erta c h a eandbron chita

partinthers eo n n acead

e

ustm ent.

Theshapingofthepharyngealresonancecavitiesdependspri-

marilyuponthepositionofthe baseofthetonguewhichis held

awayfromtheposteriorwallofthe laryngealpharyn

22

becau se

        



  



                                                     

    

                                                

oftensiononthegenio-hyo-glossusmuscles.Thepositionofthe

softpalateandtheopeningbetweenthetongueand theuvula

alsoinfluencetheresonancead

ustment.Whenthe pharyngeal

c a v iite s a r e p rp oe r l y " t u n e d

forthers eo n aito n o f t h e tn oe ,

acousticcouplingoccursbetweenthevocalcords andthe

resonator.

PositioningoftheR

esonanceC avitiesindicatesthattheresonance

c a v iite s h a e vbeenshp aedor" tuned

i.e.,thattheyhaveta

        

f o r t h e r eo s n aito n o f t h e t n oe,

                              

enontheposture,or shape,necessaryinorder

thatthevowelmayberesonated.

et

oftheResonanceCavitis ei n d i c tae s t h e p s oi t i n oingor"tuning

oftheresonancecavitiesforthe resonationofthetone.W

techn i c i s c o r r e tc, t h e p h ray n g e a l c a vtii e s a r e " s e t

incorrect(throaty),themouthcavityis"

hapingtheR

henthe

a n d w hn ei t i s

         

set.

                                 

esonanceC avitiesindicatesthattheresonancecavities

haveassumedacertainpostureforthe resonationofthetone.I

correcttechnicthepharyngealcavitiesare"

techn icthemou this"

shaped

n

andinthroaty

s h a pd e.

        

Throaty

                          

ctiveThroatinessdesignatesanyveryintenseformofthroatiness.

tsoundsthroatyandactivelyunpleasant.

ctiveth r o a tni e s s m y ab e "

dar

"

or"white


b u t i n e a c h c ae s

thedegreeofconstrictionis verygreat.Thegenio-hyo-glossus

musclesarerela

edandtheirantagonistsarein ahighstateof

t e n soi n . A t t h e s a m etime,th e m u s cel s o f t h e n e c

verystronglytensedandmouthresonancead

andj



aware

ustmentismuchin

        

evidence.Generally,thechestandshouldersaretensedandthe

                                                                                                                                       

headisforcedintoan unnaturalposture(thenatureoftheposture

varieswiththeindividual).

Thebreathis,ofcourse,"

throatiness.Thebreathe

blown

outasitis withallformsof

pulsionisgenerallyratherlowbecause

oftheintenseconstriction.Theconstrictionof thethroatise

tremelygreat,andthetongueisdrawn bac

-

inahighdegree of

tension.

onstrictedToneisathroatytone.C

onstrictedreferstothetension

whichoccursduringtheproductionof athroatytoneonthe


, c h e s,ts h o u le dr s , j

a w a n d t hsoe t o n ge u

muscleswhichareantagonistictothe genio-hyo-glossu smuscles.

A

constrictedtoneisproducedunderconditionsof strainand

effort.

DictionS

ingerisonewhoconcentrateson thewordswithcomplete

disregardforthemusicor importofthecomposition.E

achand

everysyllableiscarefullyanddeliberatelyarticulatedandone

syllableissungat atime.Theconsonantsareover-articulated,and

23

          

                                       

          

                              



  

       

the"m

s,

n

s

and"l

s

                                        

a r eu s sat i n edan d o v re - c ac n etu atd e , b -e

causetheaddedvowel,orhum,withwhich theyareassociatedis

over-sustainedtoaridiculousdegree.Thevowelsaremouth

resonatedwithcarefulande

aggeratedmouthandlipgesturing.

Theintensitylevelemployedisgenerallythatof speech,andeven

belowthatofproperlyproducedspeech.Thetechnic isalways

throaty.

awLoc

Mostj

o c c usrw h e n a m otuh r e s o n ancead

awloc

intothem iddl e loc

position .Thismidle,loc

determinedbytheposturewhichthej

openedeasily,inarela

d r o p s hsij

u s t mn et i s e m p lyoe d .

                                                                                          



sareestb a l i s hd ew h e n t h e j a w h a s b e n d r o pe pd

e d p o stii o n i s

awassumeswhenitis

edmanner,i.e.,withouteffort,asanidiot

aw.

W h e n t h e m o u t h i s oe pn e d ,ht e j

awdrop s d o w n a c e rat i n d i s -

t a n c e ad nt h e n c a n b e p u l l e d f utrh e r d w o nandbac

positionisestablishedwhenthej

furth erdownn adbac

"

gestu rehasnotbenaccm o p l ih sed.

Notonesh o u l d ee v r b e s u n g wtih t h e j

position.Thej

.Theloc

awisdroppeddownandthe

a w i n t h e mdi d l e  l o c

awisalwayseithernearlyclosedor completely

opened,whenthetechniciscorrect.

LipPositionNo matterwhichvowelisbeingsung (thereare

about83),thelipsshould beopenedslightly,raisedofftheteeth


andneitherspreadnorpoutedwhenthe techniciscorrect.W

itisfaulty(throaty)a mouthresonancead

Thelipsta

epartin thisad

bebro

                                                        

ustment,andassumedefinitepostures

f o r t h e d ievr s e v w o e l s a s es e n tai l f a c tros i n "

forthemu o t h r e sn oa n c e d a

hen

ustmentisemployed.

tunin g

themou th

ustm e n t . A l l s u c h l i p p o s i toi n s m uts

endow nandelim inatd e i f t h e t e c hinc i s t o b e c o r r c et e d

a n d a p h ayr n g a el(

MouthW

o p e n ) r e s o nn ac e a d

ustm e n t i s t o b e a t tian e d .

henthethroatisc losed(constricted)thevowelmust

perforcebemouthresonated.Undertheseconditionstheshaping

ofthemouthcavityis broughtaboutbymeansoftheposition of

thej

aw,lip s,chee

s,thefrn otoftheton gueand ,possib ly,the

softpalate.W henevermouthresonancead

t o n e i s t hor a t y a n dthej

M o u t h rseo n acne a d

awisloc

ustmentoccursthe

ed.

u s t mn et m u s t b e bor

endow nandelim i-



                                           

natedintheprocessof trainingthevoice.

MouthPositionindicatestheshaping,orpositioning,ofthe chee

a n d l i p s pul s t h e j

awloc

foramou t h v o w le, r e s n oanced a

s

ust-

ment.

Mouthingappliestosingersandspea

erswhosevoicesarethroaty

a n d w h ,ot h e r feo r e , m e ply oa m o u t h rs eo n a n cead

D i c t in oS

ustm ent.(

ee

i n g e)r.

PoutedLipsW

henthetoneis mouthresonatedandthetechnicis

throaty,thevowelisresonatedbymeansofa mouthposition

24

                 

 

                     



           

 

  



    

whichin vo le vstheshp aingofth elips.I

f t h e v o wlei s d a r

                                                                                                 

,the

lipsarepoutedandcertain mouthvowelsdemandthesettingof

t h e l i p s i n a p otue d p o stii o n , e i .. , " o o

anddar

"

ee.

W henthe

lipsarepoutedthecorners aredrawnin togetherandthelips

a r e n a ror w e d .Thej

a w m a y b e prat i a lyl d r o p p e d o r c l o sd e. I

neverbeopenedalltheway,becausethe forcedpoutma

tcan

esit

impossibleforthesingerto openhismouthbeyondthemiddle

loc

 p o s i t i o.nT h e l i p s s hu ol d n e e v r b e p o u td et h u s

theynv ee r

arewhenthetechnicis correct.

adioTc eh n i c  S i n g e r s w h o e m p l o y a " r a d i o tceh n i c

produ ce

       

theirvoicesatso lowanintensitylevelthattheyare hardly

audibleacrossaroom.Theyarealso often"

                                                                                                                                                                                                                                                              

dictionsingers.

Thevoiceisalwaysin constrictionandalltheconditionsof

absolutethroatinessaremaintained.Thesoundisonlyof pleasant

ualitybecausetheintensityistoo lowforitto becomeunpleasant.

f s u c h a s i n grew e r e t o e ne da v rot o p r o d u e catoneofevn e

moderatepowerhe,orshe,wouldemita soundofsuchactively

ob

ectin o a b l e q u a l i t y t h tan o o n e w o u l d w a n t t o lsit e n t o i t . A t

thelowintensitylevelemployed,theregistrationmaynotmi

in

thecaseofa woman.Thus,sheusesanabsolutelyconstricted

t o n e , roa "

s

uea

t o n e , i n t h e p u r e f a l s etto . T h e rg ei s t rtai o n

wouldimmediatelymi


Themenuseami

ami

ifshewereto swellthetoneevenalittle.

edfalsettoor,whenthevoicei slow-pitched,

e d l o w rer e g i set r . T h e " r a d i o t e c h n ic

ismostin

uriou s

physically.Manysingerstrainedtosingin thismannerdevelop

nodulesontheirvocalcords,and manyotherssufferfromchronic

laryngitis.S

omemaysurvive,providedthattheyneverendeavor

topushtheirvoicesor singatanintensitylevel abovethemere

threadoftonetheyhabituallyemploy.Thisformof technicis

harmful,inartisticandaltogetherdistressing.I

tisnot singingand

itisnotart.

A

singerwhosevoiceisproducedproperlycan singoverthe

radioandhisperformanceisactually farmoreeffectivethanthat

ofthetypicalradiosinger.

creamingindicatesatone,ornoise,of unpleasant,shrill,white

ualitygenerallyofhigh pitch.

Technicallyascreamisa toneproducedinconstrictionwith

thebaseofthetongue pressedbac

andup,ordown,andgrooved,

andnearlytouchingtheposteriorwallof thelaryngealpharyn

Thegenio-hyo-glossusmusclesarerela

inactie v t e n s in o. T h e r e g i s t r tai o n i s m i

falsetto.Thenec

ed

.

         

theirantagonistsare

e d  g e n ear l l y m i

                                                                                   

ed

musclesareina highdegreeoftension,as

a r e t h oeso f t h e c h etsa n d s h o u l d e r.sT h e j

awisloc

e d  g e n e rlal y

inthemiddleposition.Thelips arespread.

ettin gtheJ

a w i n dci a t e s t h e p o s i toi n i n g fot h e j

awforth e r e s o n-a

t i o n o f t h eot n e w h n ethetech n i c i s t h r otay . T h e j a w i s o u t o f

actionwhenthetechnicis correct,andassumesadefiniteposture

fortheresonationofthetone inincorrecttechnic.This"

25

setting

           

                                    

  

       

ofthej

                                 

awis,inmostcases,determinedby theestablishmentof

t h e m i dlde  l o c

position .I

p o s iito n s . W h e n t h e j a w "

tisaccomp anid ebylipandche

sets

thenec

m u s lce s a r e b r u o g h t i not

          

tension.

                                                                

houtingappliedtosinging,describesatone producedwithawhite

u a l iyt , i n t h e l o w erorthemi

reson ancead

e d l o w rer e g i set r , w i t h a mu ot h

ustm e n t , i ..e, a w h i t eht r o ayt t o n e . I t i s a l w asya

relativelyloud,throaty,crudesoundandisemployedbymen

whowanttosingloudlyand whohavelittleorno falsettodevelop-

ment,orbywomenwhoforcea loudcrudenoiseinthe lower

r e g itse r o r t h e m i

e d l o w rer e g i set r .

hut-offToneoccurswhenthetonguehasbeen drawnbac

against,

ornearlytouching,theposteriorwallof thelaryngealpharyn

Thethroatis,therefore,closedor"

shutoff,

.

          

i.e.,thetechnicis

                      

throaty.

preadLipsThe lipsarespread,whenthetechnic isthroaty,for

theresonationofcertainvowelsandfor awhiteq

uality.When

thelipsarespread,the cornersareseparatedina sortofforced

grin.Thej

          

awcannotbeopenedallthe way.Thus,themouthis

e i t h ren e a r l y col s e d o r i n t h eloc

 m i d d l e  p o s iito n .

                                                                                                      

llsingerswhoscreamor shouttheiruppertonestendto

spreadthelips.Thisis averycommongestureofthethroaty,


screm a ingsp o r a n o o r tn eo r a n d o f t h e"

awisloc

s

uea

voice

s i n g re. T h e

edwhenth el i psareoe v r - pu ot e d , ros p r e a d ,andthe

technicisincorrect throaty.Thelipsareneverspreadwhenthe

techniciscorrect.

uea Tone

mi

isaverylig h t , s otft o n e s u n g i n te hf a l s etto o r t h e

e d f a l stet o r e gsit e r u n d e r c o n dtii o n s foe

trem e c o n s tirc t i o.n

tisgenerallyverysoft,but whenitisforced,a mostunpleasant,

shrillqualityli

becom esbadlym i

easteamwh istl e isheardandtherg e i s tar t i o n

e d . T hsit y p e o f t e h cnicsou ndsli

e a w h i s t l.e

Manylightsopranosusethistechnic fortheiruppertoneswhen

             

theyhavebeenincorrectlytrainedandthe lowerregisteris

absent.I

                                                                                                                                       

tmayalsooccurwith singerswhohavederiveditfroma

highlyconstrictedlowerregisterwhichtheyhavecarried up.

trem e l y h i g h tn oe s m a y b e raec h e d i n t h e"

s

uea

v o i c,e

but

thesetonesdonotconstitutesinging,are absolutelyillegitimate

andshu o l d n e vreb e e m p l y o e d . Te hu s e o f t h e " s

uea

v o i c,e

whichisabsolutelythroatyandin averyhighstateof constriction,

isdangerousandharmfultothe vocalapparatus.

w a lol w e d Tn og u e

Thetongueis"swallow ed whenitsbaseis

droppeddownthelaryngealpharyn

glossusmuscleshaverela

andthequalityisthic

.Whenthistechn icalfau ltispronu o n c e,d

theregistrationactionisgenerallymi

2

becausethegenio-hyo-

ed.Thetonethusproducedis throaty

ed.

        

                                  



 

          Thic

T h r o ayt

"

Thic

withthetonguedroppedor"

musclesarerela

t h r o ayt

swallowed.

                                                                                                                                                                                             

t o n e i s a t h r o a t y tn oe p r o d uced

Thegenio-hyo-glossus

edandthetongueis drawndownthethroat

andtensedina droppedposture,downandbac

t h e p o set r i o r w a l l o f t h e l ray n g a e l p h ayr n

,nearlytouching

. T h e q u a l iyt o f s u c h a

toneisheavyandit hasasortof rich,mellowthroatinesswhich

isoftenm ista

enforleg i t i m tae "

dar

n e s.s

I

t i s v e r y t hor a t y w h en

themuscleswhichco-ordinateforits productionareinahigh

degreeoftension,anditis oftenassociatedwith"

ness.

activethroati-

t i s a n u n f o rut n aet f a c t t h a t scuh a t o n e s o u ndsgran d,

rich,fullandmellowto thesingerhimself.Therefore,itisa most

perniciousformofthroatiness.Thelipsare generallypoutedand

thej

awisloc

Thic

e d i n t h e m i d l e p oist i o n .

t h r o tai n ess

i s o f t e n ca hr a cet r i s tci o f t h e c o nrta l t ,o

especiallythecontraltowhoselowerregisterisundevelopedand

whousesfalsettoormi

edfalsettoonly,andofbaritonesand

basseswhoareendeavoringtoma

virilen ad"

h e ay v.

tise

etheirvoicessoundrich,

t r e mley p r e a vlentw iththeten orwho

singsbaritone,andwiththedramaticsopranowhosings contralto.

ThroatyToneThetoneis throatywhenthemouthactsasthe

resonatorofthetoneandthe laryngealpharyn

t h e r feo r e " u n t u n e d

not"

s h a pd e

isconstrictedand

forthereson ancead


          

u s t mn et .

                                                                                                           

When thetoneisthroaty,the genio-glossusandthegenio-hyoid

musclesarerela

edandtheirantagonistsarein tensionsothatthe

baseofthetongueis heldbac

wallofthelaryngealpharyn

andnearlytouchestheposterior

,andisat thesametimeeither

droppedorraisedtoomuch.

W h e n t h e t o n e i s t hor a t y t h ebreathis"blown

andthenc e

musclesareintension.Thelaryngealaction isalsoalwaysmore

orlessoutof properad

ustmentand,whenthetoneisactively

t h r o tay , t h e r g e i s tar t i o n i s m i

W h i t e T h r o tay

A

"

ed.

w h i t e trho a t y

thebaseofthetongue drawnbac

toneisaton eprodu cedwith

andeitherdownandheavily

groovedorup,thusnearlyclosing thelaryngealpharyn

genio-hyo-glossusmusclesarerela

tongu e w h i c h dar w i t s b ae sbac

.The

ed,andthemusclesofthe

a n d e i te hr u p o r d o w n ,arein

         

tension.Thetipofthe tongueisoftenseentobe pushedforward

anditsometimespressesagainstthelowerteeth.

throaty

oft"

                                                                                                                                                                                           

white-

tonesmaybeproducedwiththebase ofthetonguedrawn

up,butveryoften,especiallyforloud tones,itsbaseisdropped

asisthe hyoidbone.Underthesecircumstances,thegroovein

thetongueisverypronounced.

A

w h i t eht r o ayt

t o n e i s etih e r s h u o t y , s rce a m yorshrill.It is

theformofthroatinessemployedbythetenor whosevoiceisin

constriction,anditis,unfortunately,thebasisof whathascome

tobek nownas"thetenorquality.

Theton e i s e i t h e r s fot , a n d

soundssillyandeffeminate,orrelativelyloud,whenit isamere

shoutorscream(forthe highertones).I

s o - c lal e d " s o p r a n o q u a l i t y .

27

tischaracteristicof the

W h e n t h i s c o n dtii o n i s p rn oo u n e cd,



  

       

theregistrationismi

mi

                                                 

ed,andifthis technicispersistedin,the

tureincreasesuntilthevoice iseliminated.

i n g esrw h o s e o v i c e s aer "

w h iet t h r o ayt

alwy as l o c

theirj aws

generallyin themiddlepositionand spreadtheirlipsin a

        

forcedgrinoften withthecornersmoreorless drawndown.

TunedR esonanceC avityA

whichhasbeenshapedinorder topic

fre

u e n c y rof r e

TuningtheR

tuned

                

resonancecavityisanycavity

out,orresonate,foragiven

u e n ice s .

          

esonanceC avitiesindicatestheactof shapingthevocal

                                     

resonancecavitiesinorderthatthey mayresonateforthevowel

fre

uencies.I

notherwords,inphonation,theresonancecavities

havebeensoshapedthattheyare coupledacousticallywiththe

vocalcords,whentheyhavebeen"

tuned.

c ael

venly-risingS caleTointerpret amusicalphraseproperly,itis es-

sentialforasingerto beabletosing anevenly-risingscale.This

meansthatwhenhestartsto singatthebottomof hisrangeand



ascendsthescalesmoothlywith amusicalline eachsucceeding

(higher)toneisslightlylouder thanthetoneimmediatelybelowit.

         

fhesingsup thescale,employingafull,freetone, andtheintensity

ofeachtoneis measuredbymeansofahighspeed levelrecorder,a

                                                                                                                                                   

pitch-intensitycurvecanbeplotted.Thispitch-intensitycurve


shouldrisesmoothlyandevenlyifthe technicisgood.I

fthiscurve

isnotsmooth,themusicalline isunevenfaulty andthesinger

isunabletointerpretthe musiceffectively,withtheresultthatthe

artistryandmusicianshipofhisperformanceareimpairedor de-

stroyed.

A

properly-balanced ,evenly-risingscaleisonlypossible whenthe

problemsofregistrationandresonancead

wor

ustmenthavebeen

e d o u t c orre c t l.y

n t e nist y S c a l e  t h e s c a l e o f l o u d n e s s i s d e t e r m ie nd b y t h e l o u dness

atwhicheachtonein thevoice,atanygivenstageof development,

canbesung.Thefull volumeofeachtoneinthe voice,atanygiven

stage,isratherdefinitelyfi

ed.Normally,theintensityriseswith

thepitch,butwhenthe technicisfaulty,thisrise isunevenand,

generally,toorapid.Thepitchscaleis, then,associatedwitha

correspondingintensityscale.Thelatter,whenithas beenwor

ed

outproperly,determinesthetypeofvoicethe singerpossesses.I

t h e r i s e i s sol w , t h e o v i c e i s b as o r c o n t r lat o . I

f

        

f i t i s r a p i d , te hv o i c e

                                                                                                                                                           

istenororsoprano,and intermediately,itisbaritoneormezzo-

soprano.

eretoforeithasbeenthoughtthatthe characteristicq

ualityof

thevoicedeterminesitstype.Thisis notso infactthecharac-

teristicq

faults.A

28



ualityisfundamentallytheresultofthe peculiarpersonal

ctually,thetypeofvoiceis determinedbytheslopeofthe



 



 

    

pitchintensitycurve,whenthetechnichas beenwor

edout

properly.

lurringoccurswhenthecharacteristicsof thetonearenotestablished,

i.e.,arechanging.

Theprincipalformofslurring is,ofcourse,pitchslurring.A

pitch

slurisa noise.Thepitchshouldneverbe slurred.When asluris

indicatedinthemusic,this effectshouldbeaccomplishedbymeans

ofarunon thevibrato.

lurringeliminatesthepossibilityofthe singerinterpretingthemusic,

becauseifheslurs,he cannotstartatoneat agiveninstant,withthe

resultthatthetimespot isdestroyed.A

slurringsingercannotstart

orfinishatone.Therefore,theduration ofthetoneis notestablished

andthetimeformis destroyed.Theslurrercannotaccent.Therefore,

therhythmicpatternisdestroyed.F

urthermore,heis"

outoftune

muchofthetime,evenif hefinallyarrivesatthe pitcha ratherun-

li

e l y c o ni tn g e n cy.

While thesingerwhosetechniciscorrect mustbeabletoswell and

decrescendothetone,thepitchslurrer oftenslurstheintensityalso.

Thisisalmostas badaspitchslurring.E

achtimehes

ueezesupinto

atone,orfadesit outasheholds it,hegoesintoactive constriction.

Thisisindeedthe mechanismthatheemploysinorderto slur.

Thevowelresonancead

ustmentisalso oftenslurred.Thisim-


pairstheq

uality,becausetheresonancecavitiesneverta

position.S

lurringalwaysleadstothroatinessandmi

eona defined

edregistration.

tanceorPostureisthe positionofthebodywhichthe singerassumes

duringphonation.I

fhispostureis badthetechnicis impaired.The

stancerefersinparticularto thepositionofthelegs andfeet.I

fthe

bodyisbadlybalancedonthe feetandlegs,thetechnicalefficiency

i s i n t e refr e d wtih . O n e o f t h e r e

therela

uirem e n t s o f a p rp oe r p o sut r e l i e s i n

atin o a n d d r o pipn g o f t h e c h e s t a n d s hu ol d esr. A n o t h rel i e s

intherelativestraighteningofthe spine.Thesmallofthebac

n o t b e " s w ae yd

bac

mus t

inapronu oncedcu r v e . I f i t i s , t h e m ucs l e s o f t h e

ribsaremoreorls es l i

el yt og ie vrela

raisd eandheldinsu c h a p o s i toi n t h a t t h enec

.Thehed amustbe

i s l o n g ,o sthatthenc e

muscles,whichinterferewiththeactof phonation,arerela

ed.

Postureisimportant.Theteachermustcorrect faultsofpostureand

s t a ne cifhehopestom a

e t h e p u p i l sni g p r o p erly.

Timingindicatestheapplicationofmuscletension(or thesendingof

thenerveimpulseswhichactuatethemuscles)at theproperinstant.

Theinspiratoryande

momn etofattc a

inphonation.I

.I

piratorytensionmustbeestablishedatthe

f i t o c c u r s t o s o o n o r t o o ltae i t c a n n tot a

epart

nmovingfromonetoneto anotherthedegreeoftension

mustchange(augment)ifthepitch rises,andviceversa.Thechanges

i n t e n soi n m u s t b e " t i m e d

s o t h a t t hyeo c c u r a t t h e e

actmom ent

                                                                                                                                                                                                                                             

atwhichthepitch changeoccurs.Thetonguemustcomeintotension

           

                                  

  



    

f o r t h e r eosn a toi n o f t h e t oe na t t h e m o m e n t o f a t tca

                                                                         

,andifthe

musclesofthetonguebecometensetoo soonortoolatethey donot

functionproperly,andthetonewillbe throaty.

llchang esofad

u s t mn et o c c u r b c e a u s e foc h a n gsei n m u s c ual r

co-ordinationsandtensions.Therefore,theymustalwaysbe"

p r o p rel y . T h e s i n g re

ad

ss

timed

i l l l i e s v rey l a r g ley i n h i s a b i lt y t o " t i m e

his

u s t mn et s p r o p erly.

Tonusdesignatestheresidual,refle

musculartension,or"

tone,

which

         

                                                                                                                                              

isappliedtothe muscularsystemofthebody.Tonusis thetension

whichmaintainsthebodyinits givenposturerefle

ly(unconsciously).

Themuscularsystemofthebodycan beina lowstateoftone,

whenitistorela

edtoresp ondtoastim ulusrap idly

itmaybe

intoohigha stateoftone,ortonus(too tense),torespondeffi-

c i e nlty

o r i t m a y b e i n t htai d e a l s t tae o f t o n u s w h e rien a l l t h e s l c a

isoutofthe musclesandtheresponsetothe nerveimpulsesforthe

accomplishmentofaconsciouslycontrolledact(i.e.,phonation)isat

ma

i m u m ef fi c i n ecyandthep o t i mm u accurc ay o f a d

ustm entcanbe

attained.

Theattainmentoftheproperstateof tonusinthepupil isoneofthe

goalsoftheteacher.

Tremolo,whichisavoiceflutter inabsoluteconstriction,occursonly

whenthevoiceisthroaty.I

tconsistsofa flutteringoftheconstricted


          

wallsofthethroat resonancecavities.

Mildtremolosinvolvemerelyamovementofthetonguewhich

fluttersinandout.This typeoftremoloisemployedbythe radio

s i n g re, o r c r o oe nr , a n d b y t h e"

s

uea

v o i c,e

c o l oar t u r a sp or a n,oe t c .

Thetremoloshouldneveroccur,becauseit isalwaysaconcomitantof

intenseconstrictionatanyintensity.

When avoicewitha tremoloispushed,orforced,theflutter ofthe

tonguemayspreadtothej

aw,whichthenmovesupanddownwith

t h e f l utte r o f t h e ter m o l o

ht i s i s k n o w n a s a " j

awtrem olo.

I tmay

evenspreadtothechest,which thenbecomesinvolvedinthistetanic

flutter.

Theworstformoftremolooccurswhen thelaryn

becomesinvolved.

Thistypeoftremolo,whichis alwaysassociatedwithmi

edregistra-

tion,mayhaveapitchmovementofover afifth.

Themusclesofthethora

breathingmuscles

arenotinvolved

inthetremolo,whichis actuallyamere,localizedflutteronconstric-

tion.A

lltremolosmustbeabsolutelyeliminated.

bsoluteTremolooccursonlyincases ofcompleteconstriction.Thus,

thetongue,whichactuatesthisformof tremolo,ismaintainedina

posturewhichvirtuallyclosesthethroat.Theintensity isvery

soft,andthetoneis notforced,orpushed.Theabsolutetremolois

veryrg eularan d m u c h t o o rp ai d . I

t m a y g o f r o m 7 t o 1 , o r m o r ,e

movementsasecond.H owever,somepushed,forcedtremolosmay

becomeslowwobbleswithafre

                                                                                                                                                                                                        

                                                                                               

uencyoffour,oreventhree,a

second.Undertheseconditions,thepitchvariation,whichis narrow

withtherapidflutter,maybecomee

amostunpleasantq

30

tremelywide.Thisproduces

uality.



Mostbeginnerse

hibitsomeformoftremolo.A

                     

llabsolutetremolos

mustbecompletelyeliminatedattheveryinceptionof thepupil

s

studies.

TremoloV

         

ibratooccurswhenthetoneis producedinconstriction,

                                                                                                                                                

butsomedegreeofopeningis inevidenceintheloud phaseofthe

movement.Thus,thetonguemovesfromcompleteclosuretosome

degreeofopening,withthebalanceoftension totheconstrictor

t e n soi n . T h e ter m ool v i b r aot m a y b e o f am l ostan yfre

thetoneissoft,it

u e n c.yI

maybeveryrapid,whentheresultantsoundis

f

a

sortofbleat.Thisbleat canalsooccurat ratherhighintensity,

whenth etoneisbad l y f o r cd e. V e r y o f tn et h e f r e

u e ny ci s s l o w

whenthetoneisrelativelyloud,and themovementmayta

ethe

formofaslow,mostunpleasant,wobble.Thepitchchange maybe

verywide,especiallywhenthemovementisslow,andin somebad

cases,apitchfluctuationofseveral tonescanbeheard.

Thetremolovibratocannotbechangedintoa truevibratoit

mustbecompletelyeliminated.

ibratoTremoloistheleastpernicious formofincorrectvoicemove-

ment.I

tfluttersfromopeningtoclosing tensionwiththebalanceof

tensiontotheopeningside.The fre

uencyofthismovementis

          

oftentooslow,althoughitmaybe toofast,orevenof theproper

( v i bar t o ) f r e u e n c y aboutsi

                                                                                                                                                                                              

asecon d . W h e n i t i s t o o s l o w ,ht e


pitchmovementis,ofcourse,toowide,and itisusuallytoo wide

atanyfre

u e n c.yT h e m o e vmen t i s n o t s m otoh l i

v i b r tao  i t i s o f a s o m e w hatj

er

e t h a t o f t h e tur e

y n a t u r.e

nmanycasesthevibratotremolocan bechangedoverintoa

truevibrato,whenthevoicehasbeen completelyopenedupand

theopeninghasbecomefirmlyestablished.Undersuchcircum-

stancesthemovementissmoothedout,andthemuscles ofthe

thora

A

becomeinvolvedinthefluctuation.

vibratotremolomaybedistinguishedfromatrue vibratoby

reasonofthefactthat thetonguedoesnotholdfirm andthe

breathingmusclesarenotproperlyinvolvedinthe movement.This

isso,evn e w h e n t h erfe

u e n c y i s ao bu t s i

hasvibratotremolo,insteadoftruevibrato,lac

asecon d.Theton ewhich

sfirmnessandreal

pitchdefinition.

i b r aot i s a n e s s e n tialcon c o m iat n t o f g od oq

lac

u a l iyt . A n y t o n e w hich

s v i b r tao i s o f d e f iint e l y u n p l e aasn t q u a l iyt , a n d l c a

dramaticforce,pulseandaccurateintonation.F

s l i f e , v irba n c ,y

urthermore,thevibrato

actionisthemediumby whichthetoneisswelledlegitimately,and

bywhichthevoiceis movedfromtonetotone,andalsoby which

therhythmicpulseandaccentis accomplishedinthesingingofmusical

phrases.Thus,musicalinterpretationisimpossiblewithoutalegitimate

vibratonoformof tremolota

Thevibratoconsistsofan"

on

and"

off

impulseappliedperiodically

toallthemuscles usedinphonation,i.e.,themusclesofthe thora

31



estheplaceofthe truevibrato.

,

          

                                                                                                       



  

       

laryn

andton gue.I tshouldberg e u l ra. I

oftheton eisseriou slyimp aired .I

                                                                                                                                                                                      

fitisirregu lar,thequality

tshouldhv aea fr e

u e n c y fo6

-

.2

a s e c o n d i f i t i s t o o r a p i d o r t o o s lw o , t h e q u a l i t y i s p o o.rT h e a m p li-

tudeofthevibratovarieswith theintensityofthetone.I

tgoesfrom

zeroatpianissimotoas muchas10decibelsat fortissimo.Thepitch

variationalsovarieswiththeintensityand goesfromalmostzeroat

pianissimotoasmuchas awholetoneatfortissimo.A

tnormalintensity

thepitchvariationisa semitoneandtheintensityvariationabout3

decibels.Theq

ualityofthetoneis impairediftheamplitudeorpitch

variationisnotad

ustedproperlyfortheintensity,althoughsome

variationispermissibleforemotionaleffects.Thus,fora veryq

uiet

moodanarrowerthannormalvibratocanbe employed,andforvery

dramaticeffectsane

cessivelywidevibrato,fortheintensityofthe

tone,isemployed.

llvoicem ovem entsarem ade" onthevib rato.

Whenasluris

indicated,itisaccomplishedbymeansof avibratorun.Thisrun is

chromaticiftheintervalis short,andonthediatonic scaleifitis

wide.

Thetruevibratocanoccur onlywhencompleteopeninghasbeen

established.Thediaphragmaticmusclesarecompletelyinvolved.The

musclesofthetongueandlaryn

arealsoinvolved,butonlythedegree

oftensiononthetonguemuscles variesconstrictionneveroccurs.

Thelaryngealinvolvementisrelativelyslight.

2 7 5 0 4 0 1 3 0 5 1 0 9 3 . p d m / 7 2 0 2 / t e n . e l d n a h . l d h / / : p t t e h l / g o T o g M d G p 8 # 5 : e 3 s 2 u _ 3 s s 1 - e 9 c c 0 - a 4 / g 1 r 0 o . 2 t n s o u r ) t i y h t t i a s r h e . v i w n w U w / n / : p w t o t r h B ( / e e d L e z l i e t i i n i g a D d e n l a g o h t o a G N , r i n o a f d m e o t D a r c e i l n b e u G P o i c e P lcae m etn

izedbra eth

isprobb a l y b ae sduponth efants at i c n oito n o f " v o c a-l

( s e e Ber a t h  V o c a l i z e d B r a eth).h Teonlym annerin

w hi c ho vicecou ldbe"

placd e

w o udl b e t o g r a f t t h elaryn

l o c aito n i n w hci h t h e v o i e cistobe"

placd e.

inthe

             

c t u al ly , t h e s n e s a toi n

ofthevoicebeingplaced somewhereistheresultofsomeformof

pronouncedconstriction.

w

                                      

Whistling occurswhenair,orbreath,is blownthroughaconstriction.

fthelipsare pursedupandtensedandthe breathisblownthrough

thisconstriction,lipwhisdingoccurs.

n o t href o r m  "

nec

whisd ing,

w h e n a c osnt r i cito n i s f o r m e d a t t h e l a rny

pressureofthenec

or'

l a rn ygealw h i s t lni g

,bymean softhee



m uscles,andthebreathis blownthroughthis

constriction.Thus,allthroatysingingis reallyaformof'

w h i sidn g .

Thisismostin

inten see

t e r n lap r e s s u re.

32

occurs

t e r nla

uriou st othel arn y

laryngeal

,whichissu b

          

ectedto

                                                      



  



    

A C O U

T C A

L G LO S S A R Y

Thisglossaryhasbeenwrittento helpthereadergetthe mostout

ofthisboo

.R

ofth eboo

.

lle

eadtheglossarycarefullybeforestudyingthemain portion

planationsareinthesimplestlanguage.Theyhavebeenwritten

forthebenefitofthe layman,i.e.,thereaderwhoisnota physicistor

physiologist.I

tisq

 

uiteunnecessaryforthephysicistto readtheacoustical

sectionofthisglossary,or forthephysiologisttoreadthe physiological

paragraphs.

Theacousticalsectionhasnotbeen setdowninalphabeticalorder,

becauseaproperunderstandingofwhathasbeen writtendependsupon

these

uenceofthetopicsdiscussed.O

boo

fullyandwhoisunac

newhowishestounderstandthe

uaintedwiththeelementaryfundamental

principlesofphysics especiallyofacousticsshouldread thissection

carefully.

planationsofthetechnicaltermspertainingto vocaltechnicshould

bestudiedbyall readersbecausetheyare,inmanyinstances,specially

coinedterms.Theirmeaningisdefiniteand precise,butthismeaning

m u s t b e d fei n e d n adthered aermustknowe

a c t l y wa ht i s c o n vyee d w hn e

thesetermsandphrasesareemployed.

oundisaperceptionof themindreceivedthroughtheear andproduced

byvibrationsoftheair particles,orofanyother mediumwithwhich


theearisin contact.

oundistransmittedthroughtheair bymeansofpressurepulses

alternatecompressionsandrarefactionsoftheairparticles

thesepres-

surepulsesbeingtransmittedinall directionsfromonelayerofair to

then e

t.

Note:While theairparticlesare beingrapidlycrowdedtogether

andseparatedinagivenlayer, theairitselfdoesnot travelormove

i n a d r a f t , rob l a s t , foa i r . I

t i s t h e p r e su s r e p u le s w h i c h c rar i e s t h e

soundfromitssourceto theear.Theairacts onlyasatransmitterof

thealternatecompressionsandrarefactionsoftheair particles,j

a s t h e w aet r i n a p i p e t r n a s m istt h e p r es u r e e

ust

ertedatn oeendto

theotherend withoutmoving.

oundisnormallyperceivedwhenthevibrationsoccur betweenthe

fre

uenciesofabout20to 20,000cyclesasecond.Theselimitsvary

somewhatwiththeindividualear.

mplitudedenotestheq

uantity,oramount,ofthealternatecompres-

sionsandrarefactionsoftheair particlesin.theproductionofsound.

Theloudnessofthetonedependsupon theamplitudeofthesound

wave.

33

                                                                                                                                                                                                     

                                                                                                                                                                    

         

                        



  

       

         

                    

Noisedenotesasoundgeneratedbymeansof irregularvibrations.

rregu l a r , o r r ad no m , vbi r a toi n s c a u s e a s o u n d wihc h l a c

spitchand

            

timbreand,therefore,causeanunpleasantsensationintheear.

MusicalToneisa toneofacertainfre

t i o n s a s eo cnd )i nee v n  r e g u lrao r p e r i o d iccaden ce.Fore

ThetoneMiddleC

re

hasafre

                     

uency(certainnumberofvibra-

uencyof25

a m pel :

vibrationspersecond.

uencydenotesthenumberoftimesanyperiodic phenomenonoccurs

inagiventime.Thus,musical toneissaidto haveacertainfre

uency

                                  

whenthevibrationswhichproduceitare periodicflutterregularly

li

etheswin gofapendu lumandoccu rsomanytim e s p e r s eo cnd.

PeriodicA

         

soundwaveisperiodic,whenit consistsofeven,regular

vibrations.

PressurePulseW

henanymembrane,string,vocalcordorother source

theairparticlesaroundit.

nevibration,i.e.,compressionandrarefac-

         

t i o n o f t h e iar p a r t i lce s , i s k n o w n a s a p r e su s r e p u le s.S oundistrn as-

mittedthroughtheairby meansofpressurepulses.

oundW aveisawavegeneratedwhenthesource ofthesound string,

vibratingmembrane,vocalcord,etc.comesinto vibration.Thesingle

waveconsistsofonecompressionandonerarefactionof theairpar-

ticles.Thecompressionstartsfromzero(atmosphericpressure),rises

p r o ger s s i e vlytoama

imuman d t h e n g oseb a c


g r e sisv e l y t o a m a i m u m ad nt h e n g o s eb a c

t o z e r .oA

           

soundw aveis

representedgraphicallybymeansofasinewavefor apuretone,and

byacombinationofsinewaveswhenovertonesare present.

PureToneconsistsofonespeed ofvibrationonlyandhasno overtones

tisrepresentedbya simplesinewave.

ineWavereprs ee n t s t h e s i m pel s t f o r m fos o u n d  t h e p u r e t o n .eI

a s y m mter i c a l c u rve,li

eanS

                                           

tozeroag ain.Th is

issucceededbyar arefactionwhichstartsfromzero,augmentspro-

orharmonics.I

          



ofsoundisbroughtinto vibration,italternatelycompressesandrarefies

tis

o n i t s s i d e (n e) , r i sni g a b o e vanddrop -

pingbelowthecenterline.

ibrationindicatestheperiodicmovementinspaceof any_ membrane,

                                                                                          

s t r i n,gv o c a l c rod o r o t h e r o b e c t w h i h c a c t s a s a s o ucr e o f s o u n d.

            

Pitchisdeterminedbythe numberoftimesthesourceof vibration

oscillatespersecond.Thus,middleC

movesperiodically25

whendiefre

isgeneratedwhenanyob

ect

timespersecond.Thepitchis raisedanoctave

         

uency(numberofvibrationspersecond)is doubled.

Thus,theoctaveabovemiddleC

persecn o d , a n d te hn e

hasafre

uencyof512vibrations

toctaveb aoveth isC

hasafre

u e ny co f 1 0 2 4

persecond.W henastringvibrates,it generatesapitchwhichis deter-

           

              

       

minedbyitslengthand tension.Thepitchrisesan octaveifthelength

ishalvedorif thetensionisdoubled.Thus,the pitchisdirectlypro-

N

34

         

            

           

                                                                                                     

           

portionaltothetensionandinverselyproportionalto thelengthof

thevibratingmembraneorstring.

ntensityofatoneis determinedbytheamplitudeofvibration.W hen

onlytheintensityrises,thefre

uency,orpitch,remainsunchanged

andthedegreetowhich theairparticlesarerarefied andcompressed

increases.

                            

  

vertonesW henastring,vocalcord oranyothermovablemembrane

isbroughtintovibration,it vibratesatitsfull lengthtoproducethe

fundamental.I

talsosegments:intohalves,therebyproducingthefirst

o v e rot n e w h i c h h a s t wci e t h e f r e

u e n c y fot h e f u n d amen tal

producingthesecondovertonewhichhasa fre

i n t o t hrid s

uencyofthreetimes

thefundamental(i.e.,afifthabovetheoctaveabovethefundamental)

intoq

uartersproducingthethirdovertonetwooctavesabovethe

fundamental

andintofifths,si

ths,sevenths,eighths,etc.,producing

aseriesofhigher overtones.A lloftheovertoneshavefre

areanevennumbertimesthe fre

fre

uencieswhich

uencyofthefundamental.These

u e n cei s  p i t c h s e o f t w o , t h ree, f o u,rf i v e , s i

, e t c . , tm i esthe

fundamental,whicharegeneratedbymeansofthesegmentationof

thevibratingmembraneorstring,arek

nownastheovertones.A

llthe

overtonesarealwayspresentwheneverthevocalcordsarebrought

intovibration.O

nlyaspeciallyconstructedtuningfor

oranelec-

tricallyproducedsourceofsoundcan generateapuretone,i.e.,atone


withoutanyharmonicsorovertones.

egmentationmeanstheformationofnodesandloopsina vibrating

string,membrane,vocalcord,etc.W hensuchavibratoris brought

intooscillation,itdividesinto halves.Thesehalvesvibrateattwice

thefre

uencyofthefulllengthof thestring,thusproducingthefirst

                                                                                                                       

overtone,whichhasapitchone octavehigherthanthefundamental.

talsodivides,orsegments,intothirds producingthesecondovertone,

whichhasafre

uencythreetimesthatofthe fundamental,andinto

fourths,fifthsandsi

ths,etc.,thusproducingallthe overtoneswhich

arealwayspresentwhensuchavibrator isbroughtintovibration.

armonicsmeansthesamethingasovertones(seeO

undamentalisthelowestfre

sourceofsound.I

vertones).

uency,orpitch,generatedbya given

tisthe speedofvibrationwhichemanatesfromthe

vibrationofthefulllength ofavibratingmembrane,string,vocalcord,

etc.

ualitydependsuponthearrangementofthefundamentalandits over-

tones.Thus,whenatoneis generated,thereisacertainamountof

                                                                               



thefundamental,plusacertainamountofthe firstovertones,plusa

certainamountofthesecondovertone,thethird,the fourth,thefifth,



     

etc.Thiscompositesoundproducesacertain effectontheearwhich

weperceiveastheq

ualityofthetone.Thus,the earisableto detect

thedifferencebetweenthesoundofa piano,aviolin,ahumanvoice,

etc.,becauseofthisdistributionof soundenergybetweenthefunda-

mentalanditsovertones.

35

                  



                                                                    





  

    

                                          

tisimportantto noteinthisconnectionthat weareconsidering

onesoundwave.Thisdoesnotdeterminegoodor badq

uality,which

ismostlyafunctionof thechangesofpitch,overtonesandloudness

duringthetimea soundissustained.

o u n d S p e c t r u m d tee r mni e s t h e q u a l i t y o f t h e tn oe . I

                                                    

t i s a n o t hret e r m

usedtodenotethearrangementofthe fundamentalanditsovertones,

i.e.,howmuchfundamentalandhowmuchofeachof theovertones

arepresentinthe tone.Thus,thesoundspectrumdeterminesthedis-

tributionofenergyinthe tone.

nergyDistributionintheToneis determinedbythedistributionof

energybetweenthefundamentalandeachofitsovertones.Thus,the

                                                                                                                              

soundspectrumshowstheenergydistributioninthe tone.Thisenergy

distributionislargelydeterminedbythevoweland thevowelcolor.

ctuallywehavefoundthatthefundamentalis strongonlywhenits

fre

uencyfallsinor nearthelowervowelband.Theenergydistribu-

tioninthetone isdeterminedwhenanoscillogramisanalyzedor when

adirectanalysisis madebymeansofacrystal analyzer.Thesetwo

methodsofsoundanalysisbrea

upatoneintoitsfundamentaland

overtonesandmeasuretheloudnessesoramplitudesofeach.Thedis-

tributionofloudnessdeterminestheenergydistributionin thetone.

o w esla n d C o n s o n a nst V

owelsu o n d s aer d e t e r m inedbyth e d i s t r iu b-

tionofenergyinthe tone,i.e.,thesoundspectrum.A


vowelis

perceivedwhentheovertonesintwoareasare accentuated.Thisaccen-

tuationisaccomplishedbymeansofresonancead

twobandsoffre

ustment.Thereare

uencieswhichdetermineeachvowel.Thefollowing

tablegivesthevowelfre

                                                          

uencies:

TableI

h a r a tce r itsi c F r e

LO

F R E Q U

H I

S

P

S O

GH

E

u e n ice s o f t h e V o w e l S

peech

NC Y

F R E Q U

C

o u n d sof r S

NC Y

H

U N D

(lowband)

          

(highband)

U

U

0

(pool)

400

475

500

800

1000

(put)

  

                       

(tone)

850

a

( ta l

(ton)

)

00

700

950

1150

0

a

a

e



750

550

1200

1800

1900

(tap)

(ten)

er

a

           

    

           

        



(father)

825

    

  



    

Thus,thevowelsoundismerelya formofq

uality,andtheq

uality

ofaphonatedtonemaybe saidtobethe vowel.True,thereareother

non-voweldeterminingfre

uenciespresent,butthesoundspectrum

dependsprimarilyuponthevowelsound.

onsonantsarenoisesproducedbythetongueand lipswiththe

laryn

outofaction.Thevocalcords arenotinvibrationduring the

sound ingofthecn oson a n t s . rTu e , c etra i n c o n sonn a t s ( i . .e, " m ,

1

)re

n,

u i r e t h e asso c i tai o n o f a p h n oatd e s o u n d wtih t h e a r tci u l aet d

sound,butthissound,howevershortit maybe,canbeconsideredas

anaddedvowel.

o l o r d eisg n aet s t h e q u a l i t y o f t h e v o w el.As statd eunderth e h e a dni g

vowel,

offre

thevowelsoundisdeterminedbythe resonationoftwobands

uenciesintwopartsof thespectrum.Thehigherorthe lower

bandmy a b e p r e dm o i n atnl y s t r n og.Coloris"

b a n d i s s tor n g i n r e g ardtothehig her,an d"

dar

white

upperbandisstrongin regardtothelower.A

"

w h e n te hl o w e r

w h e n te h

changeincolorshifts

theenergycontentofthetone farmorethandoesa merechange

ofvowel.Thus,thereisconsiderablymoreq

betw eena"

dar

"

anda"

white

ualitydifference

E

t h a n t h ree i s b e t ween a n y t w o

vowelsofsimilarcolor,irrespectiveofthe locationsoftheirbandsof

voweldeterminingovertones.E motioninsingingise

pressedby

meansofcolormodificationor vowelmodification,whichisthesame


thing.Thereisanothermeansbywhich theemotionalimportofthe

soundmaybevaried,andthatis bythemediumofvibratomodification.

Thefactremains,however,thattheprincipalmeansof emotional

e

pressionwiththehumanvoicedependsuponcoloror vowelmodifi-

cation.

Wave Lengthofanypuretoneis determinedbyitsfre

uency.Thus,

soundtravels1100feetpersecond,in air,atnormaltemperatureand

p r e su s r e . W h e n t h i s fgi u r e i s d i ivd e d b y t h efre

u e n c y fot h e t o n ,ew e

navethewavelength.Thus,atoneof 100cyclesvibrationsper second

will haveahundredwavesina second.Thesewaveswillthenbe

11feetinln egth.I fthefre

uencyisath o u s ad n, t h e w aevl e n g t h w ill

be1.1feet,etc.

M u s ia clI

n t e ravl s  T h e r e l tai o n b tew e n ethefre

u e n ice s o f t h e c o-n

sonantmusicalintervalsisasfollows:

ctave1 :2

P e r fcet F

ifth2:3

P e r fcet F

o u r t h 34:

Ma

o r T h i r d 45:

MinorThird5:

Damp i n g M a trei a l (

oundAbsorptin o)A

n y m a trei a l w hci h h a s t h e

propertyofabsorbing,i.e.,deadening,soundwavesisk

entmaterial.Generallyspea

possesshighlyabsorbentq

celote

nownasabsorb-

ing,softmaterialssuchashair felt,

ualities.R ugs,draperies,wallhangings,

,etc.,areefficientdampingmaterials.

oundiseitherreflectedfromhard surfacesorabsorbeddamped

bysoftones.Thereverberationcharacteristicsofanyroom,hall or

37

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  

    

auditoriumdependuponthedistributionofabsorbentandreflecting

surfaces.

A

room,hallorauditoriumishighly dampedwhenitishungwith

agreatdealof absorbentmaterial.Thus,whenthewallsandfloorare

c o v eer d w i t h sfot a b s obr e n t m tae r i la, t h e r o m o isvery"dead

andits

reverberationcharacteristicsaresuchthatthesoundreflection isre-

ducedtoalw o l e v e.lI

ftheroom sceilin g i s a l s o c o vree d w i t h h ighly

absorbentmaterial,theroomisverydeadindeed.W

henthemost

c o m pel t e d a m p i n g p os i b l  e over95%isre

uired , a l l r e f lcet i n g s u r-

facesarecoveredwithalternatelayersofabsorbentand reflecting

materialsothatthesoundwavesare reflectedbac

wardsandfor-

wardsthroughtheabsorbentmaterialand,thus,almostcompletely

eliminated.Thevoicesoundsabsolutelydeadandsoftwhenproduced

insucha room.

c t u al ly , t h ree i s a n o p t i m u m d e ger e o f "

life

 r e v e r b rea t i n oin

anyroom,hallorauditoriumaccordingto thepurposeforwhichit is

tobeused.A

nauditoriumshouldnotbetoo deadandshouldnothave

any" deadsp ots,

b u t i t s h olud n o t b e t o o " l i v e

a n d i t s h olud n o t h a e v

anecho.

eflectionofS

oundarisesfromanyhardsurface inamannersimilarto

       

theoneinwhichl ightisreflectedfroma whitesurfaceormirror.The

pressurepulsesstri

ssefficiency,accordingtothereflectingcharacteristicsof

thesurface,whichcharacteristicsdependlargelyuponits hardness.

Thereverberationcharacteristicsofanyroom,hallor auditorium

dependuponthedistributionofthe reflectingandabsorbentmaterial

whichitcontains.

everberationoccurswheneversoundisreflectedfromhardreflecting

surfaces.When soundisinitiatedfromanysource

singer,spea

    

                                                                  

ethehardsurfaceand arereflectedfromit,with


moreorle

                                                                                                                                                                                          

er,

instrument,etc.onthe stageofanauditorium,itis transmittedinall

        

directions.Thesoundwavestravelata speedof1100feetasecond

        

andimpingeupontheceiling,floorand wallsoftheauditorium.They

            

arethenabsorbed,ina greaterorlesserdegree,bythe absorbentsur-

facesthisincludes themembersoftheaudience andreflectedfrom

thereflectingsurfaces.A

sthesoundwavesare reflectedbac

wards

andforwardsbetweenthereflectingsurfaces,asoundpatternis built

up.Thispatterniscompletelybuilt upandestablishedifthe source

ofsoundisregularand persistslongenough.Thesoundiscompletely

perceivedbytheearonlywhenthis soundpatternhasbeenestablished.

Theestablishmentofthesoundpatterndependsuponthe reverberation

time,orperiod,oftheauditorium.W

henthesoundpatternwavers,

becausethepitchestablishmentisnot welldefinedthisoccurs when

thelaryngealad

registrationismi

ustmentisinaccurateand,inparticular,when the

edthe fullintensityofthetonenever hasthechance

t o b u i l d u p t o istm a

imum .Undersu chcircum s t a ne c s t h e v oci e l a c

s

c a r r iyn g q u a l i t y .

ondu ctorofSoundA

n y g a s , l i u i d , o r s oi ld w h i c h cn at r a n s m itsound

wavesisaconductorof sound.A llgassesareconductors.H

38

ardsolids

                                                                                                                                                                           

          

            

                                                

areefficientconductorsofsound,butsoft, absorbentmaterialsabsorb,

anddonotconductsound.S

differentconductors.I

oundtravelsatdifferentspeedsthrough

ttravelsfasterthroughsolids thanthrough

gasses.Theefficiencywithwhichdiverseconductorsofsoundact

differsverywidely.Gasses,suchasair,are relativelyefficient.S ome

solidsareefficientandothersact asinsulators.

y m p tah e tci V

i b r aito n  W h e n a n y t w o o b

ectswh i c h c a n b e b ru og h t

intovibrationareofsuch asize,shapeandcharacterthat theyhave

                                                                                                                                          

 

thesamenaturalspeedofvibration,eitherone willcomeintosympa-

theticvibration,iftheotherone isbroughtintovibrationand placed

nearit.Thus,iftwo strings,tunedtothesamepitch, areplacedin

pro

imityton o e a n oht e r a n d o n eofthemisplu c

willalsocommencetovibratein sympathywithit.A

e d , t h e toh e r s t rni g

stringofhalf

thelengthwillalsocome intosympatheticvibration,becausethe

vibratingstringhassegmentedandproducedthefirst overtone,which

hasthesamefre

uencyasthatofthe stringofhalfthelength.The

sameth i n g a p pi le s t o a s t r i n gathird,afu o r t h , a f itfh , a s i

t h , e t c, .t h e

length.Thus,ifanysourceof soundisstartedinvibration,and this

sourceofsoundconsistsof afundamentalandaseriesofovertones,

anyob

ectwhichistuned tothespeedofvibrationof thefundamental,

orofanyof itsovertones,willcomeintosympatheticvibrationit

pic

o u t t h e p rat i c ual r f r e


esonanceC avity(R

will

u e n c yot w h i c h i t i s t ue nd .

esonator)consistsofacavityfilledwith air.The

resonancecavitiesofthevoicearethe pharyngealcavitiesplusthe

tracheaandthebronchi,andwhenthe technicisincorrect,the mouth

cavity.

A

resonancecavityisacavityfilled withairorgas whichhasrela-

                                                                                                                                                                                                 

  

tivelyhard,non-absorbentwalls,andwhichdoesnotcontainsoft

absorbentmaterialwhichwoulddampenthecavityandthusdestroy

itsresonatingeffect.S

uchacavityis thenasalcavitywhichcontains

softfoldsofmoistflesh

tor.I

thiscavitycouldnotact asanefficientresona-

nadditiontothesecharacteristics,a vocalresonancecavitymust

bead

u s t albe . T h e r s eo n acne c a v iite s o f t h e vioc e m u s t b e d a

inorderto"shape

u s t albe

f o r t h e r eosn a toi n o f t h e f ud na m n e t a l a n d te ho v e r -

tones,generatedbythevocalcords,whichare accentuatedforthe

vowel.Thus,theresonancecavitiesmustbe"

tuned

fortheresonation

ofthetonebeingsung.O

nlyatunedcavitywill actasa resonatorof

t h e v o ie c

ustb a l e c a vtiy c a n n otactasaresn o a t o.rE v e r y

anon-d a

changeofpitch,vowelorvowelcolor demandsaspecialad

oftheresonancecavities.Theaccuracyof resonancead

mines,inalargemeasure,theefficiencyand

reson ancecv ai t y " p i c

sout

itistunedan ddoesnot"pass

u e n cei s t o w h i h c

u e n ice s t o w h i h citisnottund e.

Thus,aresonancecavityisselectiveand pic

tonesgeneratedatthelaryn

ualityofthetone.The

a n d r e sn oa t e s te hf r e

fre

ustment

ustmentdeter-

soutfromall theover-

theonestowhichit istuned.Thus,in

thefinalanalysis,theresonancead

ustment,i.e.,theshapingofthe

resonancecavities,determinestheq

ualityofthetone.Thenon-

ad

ustablecavities(i.e.,thesinusesandthe nasalcavity)cannot

actasselectiveresonatorsofthe voice.

39



  



    

esonanceandsympatheticvibrationaresimilarphenomena.I

nsinging,

wearedealingwiththeresonancecharacteristicsof cavitiesfilled

withair.

f a t u n i n g f ro

, w h i c h por d u csea p u r e t o n ,ei s d e s i ge nd t o v i b rtae

100timesasecondit willbringaresonator,whichconsists ofatube

closd eatoneendan d 2 . 7 5 f e tel o n g , i n t o v i b r tai o n . I f t h e f o r

11timesasecondthe tubewouldhavetobe25 feetlong.F

m i d del C  2 5

v i b rtai o n s p res e c o n d thelengthofth etubewou ld

havetobe1.07feetl ong.F

havetobe6

ortheoctaveabove 512cyclesit would

.44inches.Theairin thetuberesonatesbecausethepres-

surepulsewilltraveldownthe tubeandbac

anddownandbac

e

v i b rtae s

orthetone

forthecompression,

againfortherarefactionofthe airparticlesin

actlytherightspaceof time,inordertocorrespondwith theswing

ofthefor

.I

n o t h e r w rod s , t h eof r

a n d t h e arii n t h e t u b e wl il s w i n g ,

orvibrate,together,andthesmallimpulsesgeneratedby thefor

w i l l c orre s p n ode

actlyw iththesw i n g o f t h e arii n t h e t u b e . I f t h e

tubeweretobeof anyotherlength,theimpulseswouldnot cor-

respondandresonancewouldnotoccur.Thephenomenonissimilar

totheactionemployedinswinginga childina swing.Thepushes

deliveredinordertoactuatethe swingmustbemadeatthe correct

moment,i.e.,whentheswinghasreachedthelimit ofitsmovement.

fthepushis deliveredtoosoon,itwilltend toslowdownthemove-


mentoftheswing.I

fitis toolate,itwillbe ineffective,andincreas-

inglysoasthe timingbecomesworse,i.e.,furtherawayfromthetop

oftheswing.Thelittle pulsesinitiatedbythefor

pushesdeliveredtotheswing.I

c a v iyt m u s t b e " t u n e d

aresimilartothe

twillthenbe seenthatanyresonance

t o t h e v i bar t o r i f i t i s t o a c t s aa r e s o n aotr .

avitiesofothershapesactin asimilarmannerdespitethefact

thatthemathematicalwor

ingoutoftheir resonancecharacteristics

isahighlycomplicatedmatter.

c o u sitc C o u p lni g  A

reson atoran d a s o u r c e o f vbi r a toi n a r e a c u o s t ia clly

c o u pel d w h e n te hr e s o ntao r i s s o s h a p ed,or"tuned,

speedofvibrationcorrespondswiththefre

t h a t i t s n tau r a l

uencyofthesourceof

sound.Thus,whentheresonancecavitiesofthevoice aresoshaped

thattheywillresonatewiththe vocalcords,theyareacoustically

coupledwiththevocalcordsin themostefficientmanner.W henthe

resonancead

ustmentiscorrect,thegreatestamountof energyiscar-

ried,forthepitch andvowelbeingproduced,throughtheacoustic

couplingbetweenthepharyngealcavitiesandthevocalcords.

oundingBoardW

henastringor vibratingmembraneisrigidlyat-

tachedtoaboard,or otherhard,flatpieceof material,itforcesthis

boardin t o v i bar t i o n w i t h i t w h e n i t i s srtu c

orpluc

ed.Also,the

resultantsoundisconsiderablylouderwhenthesoundingboard is

                                                                                                                                                                                                                                                                                                                                                                                                                                                                                 

presentthanwhenthestringvibratesalone,becausethe surfaceofthe

soundingboardisincontact withafarlarger volumeofairthanthe

string.

Thepianousesthisprinciple.The stringsofthepianoare rigidly

attachedtothesoundingboardthroughthe bridgeand,wheneverthe

eyisstruc

40

a n d t h e srti n g i s b r u o g h t i not v i b r aito n , t h esound ing

                                                                                                              



  



 

   

boardamplifiesandenrichesthesoundproduced.Thiseffect occurs

alsowiththebodyof aviolin,cello,etc.,towhich thestringsare

rigidlyattached.Thisisnot aresonanceeffectbutis merelyoneof

forcedvibration.

A

s i m ial r e f f e tco c c u r s w h e n a t u n ig nf o r

isstruc

a n d p r es e d

downonanyhardsurface.Theessentialcondition,however,isrigid

contact.Thesoundingboardeffectdoesnotoccur becauseofpro

imity,

asdoestheresonanceeffect.Thus,thereis nosoundingboardinthe

humn avoice.h T e v i bar t o r i s t h e l ray n

.I

bonewhichisattachedto thetongue.I

tisnot rigidlyattachedtothe

tissuspen dedfrm o t h e h y odi

bonesofthebody,neitheris itattachedtothe hardpalatenortothe

mas

ue

 t h e f r o n t o f t h e fcae . T h u,st h e n o t in ot h a t t h e h rad p a l aet ,

the" mas

ue,

the"

bons eo f t h e b o d y

oranyoth erpartofth ehuman

bodyactsasa soundingboardisutterlyabsurd.Thevoicei sareso-

nancein strum entitisnotli

Decibelisthee

ethepian o.

pressionforthemagnitudeofthepressure changeabove

                                                                                                  

andbelownormalatmosphericpressure.Themagnitudeorthevalue

ofintensitymaybee

pressedindecibelsaboveanarbitrarilychosen

thresholdintensity.Thedecibel,li

etheoctave,isa logarithmicunit.

Thus,tendecibelsrepresentapoweror energyratioof

Thedecibelisthe unitinwhichrelativeintensitiesare e

tentoone.

pressed.

Thus,whiletendecibelsrepresentapowerratio oftentoone,three


decibelsrepresentapowerratioof twotoone.A

nincreaseofthree

decibelsdoublesthepowerratioirrespectiveofthe initialpower.I

otherwords,threedecibelsmaybea verysmallq

n

uantityifavery

softsoundisraisedthree d.b.,anditmaybea verylargeone,when

aloudsoundis increasedthreed.b.A

tnormalintensitiesarise of

threed.b.doublestheamountofsoundenergyand representsanin-

creaseinintensitye

ualtotheintensityof theinitialsound.

Loudnessisapsycho-physiologicalresponsetosoundintensity.I

t

dependsuponseveralfactorssuchasear sensitivity,pitch,soundspec-

trum,etc.I

ntherangeofintensitiesencounteredin music,ninedeci-

bels,oraneightfold increaseinintensity,isconceivedbythe earas

beingtwiceasloud.

41

 

                                                                                                                                         

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                                                                                                                                                      

m e r ia candpub-

ourn alofTheAcousticalSocietyofAmericaV

No.4,April1935,andb e f o r e te hF

intheJ

o c i eyt o f A

o.).

ues-

ol.I

,

n s t iut t e a n d p u b l i s hd e

n s t iut t e  V

ol.211 ,No.4,April

1931.

Thechiefinterestofthis approachliesinthe factthatthej

mentsarrivedatareconcreteand definite

udg-

theyarenotcouched

inimaginativetermsnorbaseduponfigurativephrasesand un-

scientifictheories.

Theteacherconductinganauditionshouldfirst hearthepros-


p e c tvi e p u p i l sni g a n a r i a o r a s og na n d t h e n a s

singletonesandma

himtosin gsome

ortriadsinboth registersifpossible.This will

affordabasisofcriticism anddiscussionofthepupil

stechnical,

musicalandinterpretativetalentaccordingtothegeneral outline

whichfollows.

A

physicale

ofthehead,nec

aminationisalsoadvisable:Thegeneralcontour

andchestindicatetheprobablecaliber ofthe

voicewhetheritbe bass,baritone,tenor,contralto,dramatic

sopranoorlight(lyric)soprano.V



eryoftenitwillbe foundthat

thevoiceisso badlyproduced(sothroaty),thatitsnatural caliber

                                                                                                                                                                                                     

isentirelyobscured.Undersuchcircumstancesthe physicalcon-

toursoftheface,head,nec

,etc.,maygiveabetter indicationof

whatthevoicereallyis thanwilltheactualsound ofthevoice.

Muchmy ab e l e a r n edbye

42

a m i nni g t h e l ayr n

andthemu scles



  



    

ofthenec

.Whenthelaryn

i s s u p pel a n d e a sl iy m o vb al e a n d t h e

spacebetweenthehyoidboneandthe thyroidcartilageisopened

u p , t h e vioc e i s i n g o o d c n o d i toi n . W h e n t h e n e c

highlydevelopedandthelaryn

m u s cel s a r e

isrelativelyrigid,thecondition

isbad,andwhenthe spacebetweenthehyoidboneandthethyroid

cartilageisclosed,oralmostc losed,theregistrationisbadly(mus-

c u l alry ) m i

edandthecn o d i toi n i s v e r y b d a . W h e n t h e h y odi b o n e

isdroppedpermanentlyandthelaryn

voiceisth roatyn adthic

throatyandwhite.I

istoolowin thethroat,the

.Whenitisfi

edtoohig h , t h e v ioc e i s

nordinatedevelopmentofthenec

musclesis

anindicationofpronouncedthroatiness,andthisis especiallyserious

whenthedevelopmentisuneven.Thetypeofthroatinesscan often

bededucedbyobservingwhichmusclesare overdeveloped .

Theopeningofthej

awshouldalsobee

pronounced,thetechni

shouldnotewhetherthereisany clic

ftheloc

is

whenthesingeropensthe

awallthew a y , i f h e i s a bel t o d o s o . I

loc

amined.I

ueisundoubtedlythroaty.Theteacher

f h e i s u n a bel t o d o s o , t h e

isbadandtheconditionratherunsatisfactory,althoughmost

s i n g res a r e a p t t o l c o

theirj

a w s a n dht e r e l e s ae o f t h e j

notbedifficultto accomplish.Thearticulationofthej

alsobee

awmay

awshould

a m i nd e.

Thepositionofthetongueduring phonationshouldbenoted,


andifthereis anytongue-tie,thisfactshouldbeta

enintoaccount.

Thecontourofthelips shouldalsobeconsidered,becausemany

badly-trainedsingershaveusedamouthandlip resonancead

ust-

mentforsolong,and setitsobadly,that thegeneralcontourofthe

mouthandlipshasbecomepermanentlydistorted.

llpersonalgesturesandpeculiarmovementsco-ordinatedwith

phonationshouldbenoted.S

pecialattentionshouldbegivento

t h e p o sut r e o f t h e bd oy , t h e c u rveofthesp ineandth ebac

nec

ofthe

andthem e t h o d fob r e a t h ing.

e g i srta t i n oinWomen

sV

oices

. D o e s s h e uesb o t h r e gsit e r s

B . F a l s etto R e g i s t e r

1.I

s t h e f a l stet o p u r e

2.I

sit"

3.I

s i t b a l a ne cdwithth elowerrg e i s t re

4.I

s i t d e v e lp oe d

o p e n a n d f u l l o r c o ntsr i c td ea n d s m al l

5 . A r e t h e u p pret o n e s s hirl l o r "

t hci

, p uhs e d ro "

s h u t off

b r ea t h y

andareth e m i d d l e tn oe s

                                                                                                                                                                                                                                                                                                                                                            

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                                                                     

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                     

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manentmuscularmi

7.I

                                    

ed

5 . A r e t h e m i dlde a n d h i g h tn oe s m i

.I

e l i mni a t e d

ed

edregistration

stheinton a t i o n faf e cet d b y t h e m i

t u r e o f r eigs t r ai to n a n d , i fo s,

i s i t s h a r p o r fal t

.TheBra e

1 . C a n t h e r e g i s t esrb e c h a n g eds

i l l f ul ly

2.W herearetheregisterschangedwhensinging loudlyandwhere

whensingingsoftly

3.I

s t h e s w el lf r o m f a lest t o t o l o w e r r e g itse r w i to hu t a b r e a


theremi

4.I

oris

edregistrationwhenattemptingtodoso

sthebrea

dodg edbymi

 

i n g r e gsit e r s o r b y m e p l oiyn g o n l y n oe

          

register.

e g i srta t i n oinMen

.A

sV

oices

rethetworg e i s t res i s o l tae d

                    

B . F a l s etto R e g i s t e r

1.I

s t h e f a l stet o d a r a n d p u r e

2 . H o w d e v e l o pd ei s i t

3.Whatisitsrange

4.I

sitfulland"open

5.I

s i t b a l a ne cdwithth elowerrg e i s t re

o r i s i t c o n s t rci t e d

. D o e s h e u s etii n p e r f om r a ne c

. L o w e r R e g i s t re

1.I

s i t p ur e

2.I

sit"

   

o p e n a n d f u l l o r s m lal a n d c o ntsr i c td e

3.Whatisitsrange

4.I

 

5.A rethelow e r a n d m i d l e t o nsef u l l

44



s i t b a l a ne cdwithth e f a l s etto

                               

  



    

D.Mi


1.I

s t h e af l e s tot m i

2.I

s t h e l o w rer e g i set r m i

3.I

smi

4.I

sami

5.I

sthemi

mi

e d r e g itsr a toi n

.I

ed

ed

e d f a le s t t o u sd ei n p e r f om r a ne cforhighan dpianotn oes

smi

e d l o w rer e g i set r u s e d f rot h e u p p e r tn oe s

turetem p o r airl y i n d u c e d o r i s t h ree e v i dn ec e o f m ucs u l a r

e d l o wrer e g i s treu s e d f o r t h e m i d d l e tn oe s a n d m i

edfal-

settofortheuppertones

.TheBra e

1.I

s t h e s w el lf r o m f a lest t o t o l o w e r r e g itse r w i to hu t a b r e a

w i t hu ot m i

                         

and

 

ing

2.I

s t h e s w el lp o s s i b l e i n s p i t e o f a b rae

with outmi

3.I

sthefalsettocharacteristicpresentin thevoicethroughoutthe

            

ing



range

4.I

sami

 

e d l o w rer e g i set r d e r i e vdfromth e f a l s tet o b e cu as e o f

          

d o d gni g t h e b r a e

e s o nn ac e A d

. P harn y g e laR



ustm ent

e s o nn ac e A d

1.I

sthetonepharyngeallyresonatedovertheentire range

2.A

rethemusclesof thetonguedevelopedproperly

3.Doesth ehyoidbn oe"

4.I

hold



i n p o s iito n


stheq

           

u s t mn et

 

u a l iyt m e l l w o andbeu atifu l , a n d i s t h e ptic h w e l l dfei n e d

5.Doestheresonancead

ustmentforpitchandvowelestablish

a c c uar t e l y a t te hm o m etno f a t t a c

. C a n t h e p i th cchangep r e c i sley , w iht o u t s l u rring ,chec

ingor

e r i ng

7.Doestheintensitymountin anevenscaleasthe pitchrises

8.I

sthereconstrictionandloss ofpharyngealresonancead

ustment

forthemiddle,upper,orsoft tonesorthepitch changes

9.I

sthe"

10.I

sthe"

open ing

s u fifc i e n t t o rvee a l t h efullpow e r o f t h e v oci e

o p e nni g

balan c e d w iht t h e l a r yg ne a l d eevl o p m entand

withthedevelopmentofthebreathingmuscles

11.I

sthecontroloverthe shapingofthepharyngealcavitiessuffi-

cientlyaccuratetoenableproductionofwell-definedvowelsand

vowelcolors

B.Mou t h R e s o nn ac e A d

1.I

u s t mn et

sthetonemu o t h r eo snatd e

2.Howbadlyloc

edisthej

awandde o s h e s i n g wtih i t i n t h e m i dlde

position

3 . H o w d e v e l o pd ea n d t e n e sdarethenc e

m u s cel s

4.A rethelipssh a p e d f rot h e v o wle

r e theyoe vrpu o t e d o r s per a d

5.Doestheheadpull in,down,out,sidewaysorbac

. D o e s t h e tn og u e o r l ayr n

7.I

45

riseordrp oe

i

wards

c e s svi e l y

s t h e v o i c e lu od a n d c h raa c t rei z e d b y a s hirl l , s hu ot y , t hci

or

                                                                                             

       

   

                         

  



    

screm a y q u a l iyt o r i s i t "

s h u t off



andprd oucedatlw o (cron oing)



intensity

8.A rethevow e l s d i sot r t e d roi s t h e s i n g rea "

d i c t in os i n g e r

9.Doestheintensitydropat agiventoneinthe scalebecauseofcon-

s t r i cito n w h n egoingin t o t h e " h e a d v ioc e

10.Dos et h e s i n gre"

e m p lyoa t e c h n i

11.I

goforthens oe

or"

uewhichd e l i b rea t eyl m a



c o v eer d t o n e

(sing"inthemas

ue

)or



e s t h e v oci e t h r o tay

sthetonguepulledforwardand overtheteethorpressedagainst



thelowerteethandgrooved

12.Istheton ee

c e ss i e v l y " w h iet

or"dar

                                         

TheBreath

. B r ae t h " H

1.A

eld

retheinspiratorymusclesin tension

2.Dothedip a h r am g a t i c ad nl o w e r r i b m uscls e"

3.I

hold

ine

 

uilib rium

   

sthebreathinspiredwithoutinvolvementofthe chestand

shoulders

4.Doesthediaphragmmoveoutthroughthe attac

5 . A r e t h e c h etsa n d s h o u l d e r s r lea

          

eddurin g p h o n tai o n

. C a n t h e p i th cbemovd e a n d c a n t h e sni g e r " g o t h r o u g h

the



f a l s tet o w iht o u t " g i v i n g

7.I

s t h e t e n soi n "

timed

f o r t h e atta c

 

a n d a r e t h e ca hn g e s fot e n s i n o

forthemovementofthevoiceup ordownthescaleaccomplished

s


i l fl ul ly

8.I

sthedevelopmentofthebreathingmusclesbalancedwith the

developmentofthemusclesofthelaryn

9.Dothemu sclesofth ethora

10.Doesthebreathe



andtongue

give

f o r t h e h ih go r s o f t t o n es

pulsiondropasthe intensityrisesfrompianis-



simotomezzoforte

B . B r etah "

1.I

Blow n

s t h e v o i c e lu od b e c asue i t i s b l a s td e"

open

orisit"

heldbac



andproducedatlow(crooning)intensity

2.I

sthee



p i r aot r y b l atsp r o p lel e d b y m a ensoften siononth echest

orshouldermusclesordo thediaphragmaticorlowerbac

rib

musclescollapse

3.I

s t h e c h e s t r ias e d o r f roc e d d o w n

4.I

sthetensionon thearms,handsorlegsvery pronounced

5.I

s t h e h e a d f roc e d d o w n,in,ou torbac

blast

.I

attac

7.I

andhowmuchpre-tensionisengendered

p u l soi n h i g h b c ea u s e t h e v o i c e i s f roc e d a n dthe

singerpushesforpower,oris itlowbecauseofe

onthenec

4

 

tremetension

                 

m u s cel s

8.Doesthebreathe

                                                   

                      

b e c asue o f t h e b r a eth

s t h e b r e aht i n s p ier d a n d h edl i n t e n s in ob e f o r eht e m o mn et o f

s t h e b r e aht e

 

pulsionrisewiththeintensity



           

                           



  



    

 i b r aot

.I

s t h e v o i c e daed s t e d a y o r i s t h e m oevm e n t t r u e v i bar t o , a b s o l uet

tremolo,vibratotremolo,ortremolovibrato

B.TrueVibrato

1.I

s t h e m o vm e enttru e v i b r tao a t a l l t i mse

2.I

sthevibratoeven(periodic)or irregular

3.I

s t h e v i b r tao o f t h e p rp oe r f r e

uency'(about6 asecond)orisit

toofastortoo slow

4.I

s t h e a m pi lt u d e o f te hv i b r aot c o r r e tc, e

c e s svi e o r t o o l o w taa n y

givenintensity

5.I

s t h e p i t c h vrai a t in oa b o u t a s e m itoneatM .

.orisittoowide

ortoonarrowatany givenintensity

.Doesthevibratostart virtuallyatzeroatpianissimoand augment

astheintensityincreases

7.C

anthesingercontrolthe amplitudeofthevibratoatanygiven

intensityinordertoconveyvariousemotionaleffects

8.Doesthevibratocontrolthe rhythmiceffects:timespot,accents,

etc.

9.Canthesingerrunonth e v i b r aota n d e

ecuteru ns,cad enzs a,

trills,etc.

10.Doesthevoicemoveandswell onthevibrato

.A

bsolu teTrem olo


1.Doesthesingeremployan absolutetremolo

2.I

sita rapidflutter(7-11asecond)associatedwith acrooning

typeofsingingoris itapronouncedbleator wobble,associated

            

                                                                       

witharelativelyloudtone

3.I

s t h e t r e mloo w i d e o r n rar o w

4.H

owgreatisthe pitchvariation

5.I

s i t a t o n g u e t rm e olo

.H asitspred atothej

awandde osthej

7.I

sthelaryn

8.I

sthechestin vo le vd

9.I

s t h e t r e mloo a s s o ica t e d w ithmi

a w f l utte r i n t e t n a i c t e niso n

i n v lov e d ( e vrywid epitchflu tter)

e d r e gsit r a toi n

D . V i b r aot T r e m loo o r T r e m oloVibrato

1.I

sthemovementprimarilyvibrato(openingtension)ortremolo

(closingtension)

2 . T o w h tae

t e n t i s t h eht o r a

i n v ovl e d

3.I

sthefre

u e n c y cror e c t ,ot o f a s t o r t o s l o w

4.I

stheamplitudecorrect,toowide ortoonarrow

5.I

sitenoughli

e a v i b r aot f o r i t t o b e p o sisb l e f rot h e t e a c h erto

changeittoa truevibrato

.I

sthetremolocharacteristicmostprominentat thelow,middle

orhighpitches

47

                                                         

  

 

  

        

                

    

  

Diction

1.I

                                        

sthedictiongood ordoesthesingermouththe vowels,humthe

consn o a nsta n d o v e-rp r o n o u n c eht e s y l l b alesli

2.Doesthesingerbrea

bychec

3.A

ea"

ham

actor

themelodiclinebymispronunciationand

ingtheflowofthe voiceinorderto formtheconsonants

rethewordsclearlyintelligible

4.Doesthesingeruse hislipsfor formingthevowels

5.I

s t h e s i n g rea "

d i c toi n s i n g re

c l e alry a t l o w i net n s iyt a t t h e e

w h o p rn oo u n e c s t h e w odr s v e r y

p e n s e o fht e t o n e

Musicianship

1.Doesthesingere

presshimselfthroughthelanguageofmusic or

d o e s h e mree l y " t h i n

2.I

ofthewords



sthetonesu stain e d i n t h e c e netr o f p i t c h , i n t e nist y a n d q u a l i t y

whenalegatomelodiclineis beingsung



3.Doesthevoiceconnecttones togetherinanevenlyrisingintensity

scalewithprecisionasto intonation,timeandrhythm

4.A



retheinterpretativedevicesemployedlegitimateordoesthe

singerresorttoslurring,sobbing,hummingconsonants,musical

distortionsandothercheapeffects



5.Doesthesingerpossessa nicefeelingfortheemotionaland

dramaticimportofthewordshe issinginganddoeshe e

press



themwithartistryandfinessewithoutdistortingthe music


.Doesthesingerbreathein theproperplacesordoes hebrea

m u s ia c l f i g uer s w i t h e

t r a b r etah s

7 . H o w g o o d a m u s i c in ai s t h e s i n gre

8.C



anheanalyzethecompositionshesings

9.Doeshegroupthe tonesproperlyandishe consciousofthemusi-

calfigures,cadences,phrases,rhythmicconfigurations,etc.



Posture

1.I

s t h e s i n g re

s p o s t uer c o r r e tci n r e p o s ,ew i t hu ot r e d u n dantan d

interferingtensionsoraw



wardwithdistressingmovementsand



gestures

2.A

retherepeculiarpersonalgestureswithhead, lips,j

arms,chest,bac

aw,shoulders,



,legs,feet,hands,eyes,nose,etc.

3.Doesthesingerreleaseall thetensionbetweenbreaths

                                                                               

Psychological

1.I

s t h e s i n g rea "

2.I

s h e i n h i btie d a n d t o wa ht e

s e l fl -i s t ee nr

3.I

sheinhibitedagainstsinging fulltonesandhightones

4.I

s h e a l e r t a n duf l l o f e n reg y a n d e

ordoeshebc eo m e " d e a d



tent

                              

p r e sisv e nses w h i l e h e i s sni g i n g

andunm e o toi n a l

5.Doesheretainthe energyandactivityforthemiddle andlower

48

           





  







         

    

t o n e,so r d o e s h e " s a v e h i s v o i c e a n d o n l y "

gofor



theupp er

tones

.Doeshe"holdbac

voce

7.I

" h i s , v o i c e i n pref o r m ancean dsing" mezza



m o s t o f te ht i m e

f t h e s i n greg o e s o f f ptic h , i s i t b e a cusehehs aa b a d e a r o r b e -



causeoftechnicalfaults

8.Doeshego"dead

w h e n h eisn g s p i n aissim oordurin g t h e i n t e-r



ludes

9.Doesheslur intotheattac

andbetweentonesandvarytheloud-

n e s s o f s ig nl e t o n s ei n a m e l o dci l i n e i n o r dret o m a

maw

echeap ,

ish,emotionaleffects

10.Isthesin g e r rt yni g t o " p l a e c,

11.H

f ou cs,

or"pro

ect

hiso v ie c

asthesingersufficientpowerof concentrationtoholdthemood

andchangingmoods,throughouttherenditionoftheentire com-

 

position

Spea

i ng V o i c e

1.I

s t h e r e g itsr a toi n p u r e

2.I

sthelowerregisterabsolutelyestablishedandemployedfor all

 

normalspeech

3.I

sthefalsettoisolatedand canitbeused forcomedyeffects,

           

screams,etc.

4.I

sthenorm alpitchofth evoiceatth e p r o p rep i t c h f o r t h egiven


voice(low)oris ittoohigh

5.I

s p h a r yg ne a l r e o snan cead

u s t mn et e m p lyoe d o r i s t h e vioc e

mouthresonated

.I

stheq

u a l iyt p l e aisn g b e c u a s e o f p hray n g a elresn oancead ust-

mentandpureregistration,oris itunpleasantbecauseofmi

registrationandmouthresonancead

7.I

ed

ustment

st hetone(o v w e)ls u s t ani e d a n d d e osthespa e

withoutbrea

                              

e r m o v e hsiv o i c ,e

         

ingoffandwithoutgaps,in amusical,rhythmicflow

oftoneinthe samemannerasasingershould phonate



8.Doeseachvowelcenterin pitchordoesthe pitchmoveonasingle

tone(vowel)

9.A

reconsonantssufficientlyvigorousandvowelssodefinedasto

beclearlyintelligible

10.Areconsonan tstoowea



ortoolou d f o r t h e i n tn es i t y o f te h

phonatedsound(vowel)

11.Arevowelsoun d s a s s o ica t e d w iththecon sonn ats"

m,

n,

andT



oversustainedandarethesibilantsoverdone

12.A

retheimportantsyllablesofthe importantwordsstressed



properlybymeansofpitchrises andinflectioninthemelodic flow

ofth e"

13.A

tun e

reunimportantwords(i.e.,and,the,etc.)andsyllablesover-

stressed

14.I

15.Doestheintensityofthe voiceriseinan evenscalewiththepitch

1

49



sawidemelodicline usedwhenitisdemandedbythe import

ofthewords

.I

stheq ualityp l e a sn at a t a l l p i t ce hs

                                                                           

     

                                                                                                                   

  

    

                      

17.I

                     

sthecolorcontrol satisfactoryanddoesitcovera widerangeof

differentvowelcolorsoverawidepitch range

18.H

owwidearethepitch andcolorranges

19.I

s t h e g e n rea l s o u n d o f t h e v oci e "

d o e s i t b eo cme"hammy

n a t uar l

anddos et h e s p e a

a n d u n af fe c t d e,or



e r e m pol y p r o ivn c i la,

pedanticandunnaturalpronunciations

20.I

s t h e v o i c eu s s t ani e d p r oe pr l y a n d d oesit"

upandlac

21.I

c a r r ,y

orisitbro



en

i n g i n c a r riyn g p o w er

s t h e v o i c e ivt a l a n d itne r etsi n g o r d osei t l a c



p o i ga nn c y a n d

energyandbecomeuninteresting

22.I

s t h e f a c ilae

word sorisit"

23.A

dead



p r e siso n c o -rod i n tae d w iht t h e m e a n ingofthe

andlac

inginanim ation

retheverylowpitches establishedandemployedproperlyfor



uietanddeep,emotionaleffects

24.Doesthevoicetire whenusedathighintensityfor aconsiderable

period

50


 





                                                                                                

NT R O DU C T O N

Becauseaconcrete,usableideaisessential toeffectivereading,

averybriefoutlineof thefundamentallawsgoverningvocaltechnic

ispresentedinthis chapter.S



tatementsmadearediscussedin

d e t al i n t h e m a i n b d o y o f t h i s boo

.

Thevoice,properlyproduced,isamusical instrument.Thereis

onlyonelegitimatereasonforlearninghowto sing:Toenablethe

                                                                                                                                                                                                                                                                                                                                                             

singertousehis vocalapparatusasamusicalinstrumentwhichis

abletointerpretthemusical contentofacompositionandtheemo-

t i o n laa n d d r a m a t i c i mo pr t o f i t s t e

t.S ingin g i s a m a g n iife d , b raod -

enedandintensifiedmeansofvocale

pression.E veryvoicecan,

andmustbeableto producemusicaltones,theintonationofwhich

isabsolutelyaccurateandthecolor andintensityofwhichcan be

sub

ectedtoawidevarietyof modifications,iftheaspiringstudent

istobecomeanartist.

tmustbesufficientlypowerfulto beaudible

throughoutitsentiresingingrangein alargeauditorium.E

properly-trained," opened-up

very

voiceiscapableoftransmittingsuffi-

cientpowertoaccomplishthisend.

Thecasualstudentwhomerelywishestosound

intim a t e l,y

cute,

e t c,.w i l l f i n d te ha u t h roo f t h i s b o o

sing

i m p tai e n t wtih

suchtrivialities.But,attentivereadingshouldestablishtheerror

ofanynegativeambitionandprobablyrevealthereal possibilities


(bothculturalandfinancial)ofa finevoice.

Theq

ualityofthetone,i.e.,theq

ualitywhichrendersitpleasant

orunpleasanttothediscriminatingear,dependsupon threemain

factors:

1.A

ccurateintonation,whichimpliesthepropercenteringof

themiddlepitchpointof thevibrato.

2.Thevibrato(whichmustbe regular)oftheproperfre

(

a s e c o n)d, a

t o n e t h eisn g e r i s p rd ou c i n g.I

f t h e m o vm e e n t p rat a

n a t uer o f a t r e m loo , o r i f t h e v ioc e i s "

atpianissimo)theq

3.A

d e a d set a d y

esofthe

(e

cept

ualityisunpleasant.

ccuratepharyngealresonancead

vowel(

uency

n d p r o prea m p l iut d e f o r t h e i n t e nist y o f t h e

ustment.Thepitchand

ualityfromtheacousticalstandpoint)mustbe

resonatedwithabsoluteprecision.Thead

ustment,orshaping,

oftheresonancecavitiesdeterminesthewaveform.

51



  

       

When thesefactorsaresatisfactory,thepoweroutputmustper-

forcebeconsiderablebecausethevoicehas thenbeen"

openedup.

lthougheachindividualvocalorganispotentiallycapableof pro-

ducin gacertainm a

i m u m q u a n t i t y o fo sunden e r g y a co crdin gto

itssize,structureandstage ofmusculardevelopment,anyvoice

whichisproducedproperlyanddevelopedmuscularlyisfar more

p o w ref u l t h n aaninfin i t e l y l rag e r " n a t u r a l v o i e c

b e f roe "

open ing

up.

llthesefactorscanbe trained.Thisis,indeed,whatthetrain-

i n g p r oe cssis

A

s o - clal e d " n a t u r a l v o ie c

i s n o t t h e r eusl t o f s o m e

peculiarstructuralformationofthevocalorgans

itcanbe"

made.

nfact,everyhealthyvocalapparatuscan,theoretically,betrained

toproducetoneswhichhaveformerlybeenthoughtto bethespecial

characteristicofonly"

greatnaturalvoices.

n p r a c tci e , o f c o u rse,on lyafewe

c e p toi n a lyl t a l e n tedpup ils

canreachtheheights,becausethe abilityforlearninghowtosing

mustbeta

enintoaccount.A

fineear,concentration,energy,drama-

ticabilityandmusicalfeeling,plus physicalmusculars

illare

essentialcomponentsofthiscapacity.Nevertheless,somepupilswho

startwithoutanynotablevoicemaybecomeveryfinesingers, if

theypossessthesecapacities.

Underaproperly-conductedcourseoftrainingeveryvoiceshould


improveprogressivelyaccordingtothepupil

stalent,andcertain

reallytalentedpupilsshouldbecomegreatsingers.

Thegeneralfundamentalprinciplesinvolvedareconcrete,definite,

relativelysimpleandabsolutelystraightforward.I

w i t h t eh c n i c laf a u l t s ta ht t h e s u b

tisin dealing

ectbecm o escom ple

. H o w ee vr,

badtechniccangenerallybeclassified undercertaindefinitehead-

i n g s . Tihs e n t i r e q u e s t i o n fo"

wor

ingout

t h e d i vres e v o clap r o b -

lemsencounteredisdiscussedinconsiderabledetailin thisboo

Thehumanvoicemightbetermeda

static

.

machine.Themuscles

actuatingthepartsinvolvedarebroughtinto tension.Thesetensions

m u s t a t al lt i m e s b e " h e l d

a n d m ani t a i n edine

uilib rium.h Te

readermustbanishfromhismind anyconceptsbaseduponthe

notin o t h a t t h e vioc e i s s o m teh i n g w hichcanbe"placed,

e cet d ,

d ie r cet d ,

f ou c se sd

Thevoicewhichisproducedproperlyis

b r e aht b l a s t . h T e b r e tah s h o udl n o t b e "

or"felt

pro-

i n s om e pa r t of t h e n a aot m .y

notdrivenbymeansofa

blow nout

ina"

s t r em a

orcontrolled.

tisthe pressureofthebreathwhichactuatesthe voicewhen

itisproducedproperly notastreamofbreath or"

breath.

vocalized

hus,allconceptsbaseduponsuch T fallacioustheoriesmust

beabandonedifthefollowingisto becomprehendedproperly.

52

                                                                                                                                                                                                                                                                                                                                                                                                                                





  

   

         Thevocalapparatusconsistsofthreeareas oftension:

                                  

. A c t u ao tr

Theactuatorofthevoice

thepressureofthebreath

bytensiononthebreathingmuscles(inspiratoryand e

ofthedip ahrag mandthelw o erbac

ribs.(

isgoverned

piratory)

eeF ig.1.)

B . V i b r aot r

Thevibratorofthevoiceis thelaryn

ofsoun dandmigh tbetermd e"

t h e r e i s n o sni g i n g o vice.(

.I

tis,indeed,thesource

t h e v oci e ,

becau sewith o uta l a rn y

                                   

eeF ig.2.)

. R e s o ntao r

Theresonatorofthevoiceis thepharyngealcavitiesand,forsome

ofthelowesttones,thetracheaand bronchi.Theshapingofthe

resonancecavitiesdeterminesthevowelandtheresonationofthe

f u n dm a e n tla t h e p i t c h o f t h e tn oe . (

eeF ig.3.)

 

. B r e aht i n g M u s c l e s ( A c t u a t o)r

Thebreathingmusclesholdthepressureof thebreathagainst

theclosureoftheglottis

           

theslitbetweenthevocalcords which

closesincorrecttechnic,becauseof tensiononthearytenoid

m u s cel , a n d w h i c h o p esnf o r t h e a c t o f r s ep i r tai o n . (

                              

eeF ig.2F .)

Thebreathingmusclesinvolvedinpropertechnicare:

1.Diaphragm

2.Rib(lower,bac

rib )muscls e. (

eeF ig.1.)


Thesetwogroupsare,ina sense,antagonisticfunctionoppositely.

                                                                                                                                                                                                                           

Thatis,thediaphragmdistendsoutwardandforwardwhenin ten-

sion.h T e l o w re, b a c

r i b s m oevo u t wrad a n d b a c

whenth e m u s cel s

governingthemareintension.

Thesetwogroupsofmuscles,pullingin oppositedirections,must

beheldinbalancede

uilibriumduringphonationandshouldnot

move.Thisconditionisonlypossiblewhentensionis

andmaintainedonboththeinspiratoryande

established

piratorymuscles.

Thistensionmustbeinitiatedat themomentofattac

andmain-

tainedduringphonation.

The"

wor

done

insingingdependsuponthedegree ofbalanced

tensiononthesetwogroupsof muscleswhichareheldin e

brium .I

re

u i s iet f o r a p r o p ret e c h nci l i e s i n t h e a bl i t y t o c otnr o l a n d tm i e

t h e s e tn es i o n swithcon summ ates

53

uili-

tvariesw i t h t h e p ict h a n d i n tn es i t y o f t h e t o n e . A n e s s e n t ila

i l l . T hsii s n o t "

b r e tah c o n tor l



  

       

B r e tah i n g msuc l e s " g i v e

rela

,whenth e t e c h nci i s f a u l t .yU n d e r

suchcircumstances,theinspiratorytensionislost andthesinger

                               

startstoblowthebreath,i.e.,initiate thebreathingact,withthe

i g . 1  B r e aht i n g A p p a r a t u s

Thelungsarefilledwith airwhenthethora

ise

ontheinspiratorymuscles,andareemptiedof air(e

b r e aht ) w h e n te ht h o r a

pandedbecauseoftension

ceptfortheresidual

i s c o n tar c t e d ,becau s e o f t e niso n o n t h e e

p i r aot r y

muscles.

n p h o n tai o n b ohtt h e i n s pria t oyr a n d e

p i r aot r y m ucs l e s a r e i n t n esion

andthebreathis,therefore,virtuallyheld.

When thetechniciscorrect, theupperbreathingmuscles(thoseofthe

u p p e r rbi s  c h e s t ) a n d s h o u le dr s a r e r eal

edandthew or

oftensiononthemusclesof thelowerribs,especiallythelowerbac

i s d o n e b y maen s

ribs,

andthediaphragm.

resultthattheantagonistic,interferingmusclescomeinto tension

andthetonebecomesthroaty.W

henthisoccurs,eitherthe diaphrag-

54


 

    

                                                                                                                



                       

  

 

    

maticm u s c l ,et h e b a c

r i b m u s lce s o r b oht "

give

                                                                                    

andthech est

andshouldermusclescomeintotension.Thesemusclesshould

alwy as b e r e l a

eddurin g p h o n tai o n . I f t h e t e niso n s p raed s d o w n

intothemusclesofthe abdomen,thetechnicisnotinterferedwith,

butifitspra e d s u p i n t oht e c h e s,ts h o udl e r s a n d nce

,thetone

becomesthroaty.

We have,then,thefirstareaoftension

l o w rep a r t o f t h e b c a

rela

thediaphragmandthe

andacorresp ondin g a r e a w hci h s h o u ldbe

e d  t h e c h e s, ts h o u l d ersandnc e

B.LaryngealMuscles(V

Thelaryn

.

ibrator)

consistsofacartilaginousstructuresituatedat thetop

ofthetrachea thewindpipe.Thevocalcordsaretwo bandsof

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fleshwhich,whentensedandbroughttogether,closethe opening

ofthetracheaandstop theairfromenteringor leavingthelungs.

Thus,thelaryn

isprimarilyasort ofvalvewhich,whenopened,

permitstheindividualtoinspirethe airintothelungs andtoe

pel

itfromthelungs.The spacebetweenthevocalcords,whichis

n o w n a s te hg l o t tsi, i s c l o s d e w h e n t hyea p p r o

i m a t e (o c m e t -o

gether).Thisclosureoftheglottis shouldbeaccomplishedby

mean s o f t e n s in oo n t h e a r yet n o i d m u s c l .e(

eeF ig.2F

. ) D u r ig n

phonation,thevocalcordsarebroughttogetherand stretchedto

acertainlengthandtension todeterminethepitchofthe tone.


Thevocalcordsarestretchedby meansoftwogroupsofmuscles

the arytenoidandcrico-thyroidmuscleswhichare situatedre-

s p e citv e l y tat h e b a c

a n d f r otno f t h e l a r n y

.(

eeF ig.2A -D.)

Theyareshortenedbymeansoftensionon thethyro-arytenoid

muscleswhicharesituatedinthe vocalcordsthemselves.(

ee

ig.2DandF.)Thecombind e , c o - rod i n tae d a cito n o f a l l t hsee

musclesdeterminesthepitch,whichrisesas thetensionincreases

andastheln egthdc e r e ae ss.I

n g o o d t eh cnicthema imumln egth

forthegivenpitchto beproducedisemployed,whileinfaulty

technic,thevocalcordsare undulyshortened.Thisconditionis

nownas"mi

Thelaryn

e d r e gsit r a toi n

 t h e w o r s t o f al lt e c h n i a c l f a utls .

isthevibratorofthe voice.When theglottisthe

spacebetweenthevocalcords isclosedandthe pressureofthe

breathisapplied,thevocalcords comeintovibrationandsound

isinitiated.Thepitchof thesounddependsuponthelength of

andtensiononthevocal cords.Themusclesofthelaryn

thevocalcordsandturn thelaryn

stretch

intoasoundproducinginstru-

ment.

55

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

            

  

      

        

Thelaryn

issuspendedfromthehyoidbonewhich isattached

tothetongue.I

tconsistsoffourc artilages:

1 . T h e t hryo i d c a ritl a g e ( A d a m

sA

pple)

2.Thecricoidcartilage

3 . T h e a rtye n odi c a r t i lg ae s (

eeF ig.2.)

Thearytenoidcartilages,whicharemoreorless triangularin

shape,areattachedtotheposterior,or bac

,ofthecricoid cartilage.

Thecrico-arytenoidmusclesholdthearytenoidcartilagesfirmly

tothecricoidcartilage whentheyareinpropertensionfor phona-

tion.

Themusclesofthelaryn

are:

1.Thecrico-thyroidmuscles

2.Thethyro-arytenoidmuscles

3.Theposteriorcrico-arytenoidmuscles

4.Thelateralcrico-arytenoidmuscles

5 . T h e a rtye n odi m u s c l e (

eeF

ig.2.)

Thevocalcordsareattachedto thearytenoidcartilagesattheir

posteriorend,andtotheinner surfaceofthethyroidcartilageat

theiranteriorend.Theyareappro

imated(broughttogether)when

themusclewhichisattachedto thetwoarytenoidcartilagesthe

arytenoidmuscleistensed.This actionclosestheglottis thespace

betweenthevocalcordsand ma

espossibletheproductionof


soundw ithou ttheaidofe

t e r nla n e c

a n d t o nu ge  m u s c l s e.

Thevocalcordsarestretchedby meansoftensiononthecrico-

thyroidmuscles(seeF

ig.2).Thesemusclesareattachedto the

thyroidandthecricoidcartilages,and whenintension,bringthese

twocartilagesnearertogetherthusstretchingthevocal cords,pro-

videdthatthearytenoidmusclesalsoare intensionsothat the

arytenoidcartilagesdonot"

give.

Thetensiononthearytenoid

musclesshouldbalancewiththetensionon thethyroidmuscles.

Thethyro-arytenoidmuscleslieinthevocal cordsthemselves

and,whentheyaretensed,theyshortenthe cords,therebyraising

thepitch.Thecrico-thyroidmusclesraisethe pitchbystretching

thecords,butat thesametimetheylengthenthem.Thestretching

actionraisesthepitchand thelengtheningactiondropsthepitch.

Thepitchisthus determinedbythecombinedactionofthe crico-

thyroidandthyro-arytenoidmuscles,whichactionisbalanced

becauseoftensiononthearytenoidmuscles.A

laryn

mustbeintn e s i o n drui n g p h n o a t in o. I

a r e i n b a ln ac e d e

llthemusclesof the

n p r o p ret e c h nci t h e y

uilib rium.

Theposteriorcrico-arytenoidmusclesdrawtheouteranglesof

59

                                                                                                                                                                                                                                                                                                                                                                                   

  

       

thearytenoidcartilagesbac

wardsandinwards.Thelateralcrico-

arytenoidmusclesdrawthearytenoidcartilagesforwardsanddown-

wards.Thesetwogroupsofmusclesare,in asense,antagonisticand

whenbothareintensionthey

t o t h e c r i ciod c a r t ial g e t h u sma

hold

thearytenoidcartilagesfirmly

i n g p os i b l e t h e"

strin ging

ofthe

vocalcords.Tensiononbothposteriorand lateralcrico-arytenoid

musclesestablishesaconditionofe

uilibriumbetweenthecricoid

andthearytenoidcartilages.

Thethyro-arytenoidmusclesare,inasense,antagonistictoboth

thecrico-thyroidmusclesandthearytenoidmuscles,againstwhich

theypull.Theentirestructureof thelaryn

e

mustholdfirmlyin

uilib r i u m i f t h e ln eg t h a n det n s i n o o f t h e v o clac o r d s i s t o b e

maintainedconstant,i.e.,fordefinedintonation.

Becausetherearetwogroupsofmuscleswhich stretchthevocal

cords,therearetwo,andonly two,registers.V ocaldevelopment

andimprovementarepossibleonlywhenthesetwogroupsof

laryngealmusclesaretrained,developed,balancedandco-ordi-

natedp r o p elry . I

t i s e s s e nita l t o i s oal t e a n d p u r i f y t h eer g i set r s . I

oneregisteroverbalancesoutpulls theother,thee

f

uilibriumof

thelaryngealsystemisdestroyedandthevoice deterioratesrapidly.

bsoluteco-ordinationbetweenthetworegistersisa goalwhichis

seldomreached,becauseitshouldonlybeattemptedat ane


tremelyadvancedstageinthetechnicaldevelopment.A

-

nyprema-

tureattemptatco-ordinationisaltogetherdestructive,becauseit

l e a d s t o te hw o r s t o f al lv o c a l i lsl m i

e d r e g itsr a t in o( e

c e s s iev

thyro-arytenoidtension).

. M u s c lseo f t h e T o nu ge ( R e s o n a t o)r

npropertechnictheresonatorof thetoneisthe pharyngeal

cavitiesthelaryngeal,oraland nasalpharyn

b r o nh ciforthelow estton es.(

eeF ig.3.)I

,plusthetracheaand

n i n c o rer c t t e c h nicthe

mouthisused.

A

resonatormustconsistofarelativelyundamped,ad

cavitywhichisfilledwith air(orgas).I

itis"

tuned ,

ustable

tactsasa resonatorwhen

o r s h a pd e, f o r t h e ptic h a n d v w o e l w hci h a r e t o b e

produced.

When thepharyngealcavitiesareemployed,thelaryngealpharyn

the throatis heldintensionin anopenposture.Thesizeand

shapeofthecavitychangeswitheach alterationofthepitch,the

vowelandthevowelcolor.Thisopeningand shapingofthethroat

isaccomplishedbymeansofthe propertensiononthemuscles

which"position

0

                                                                                                                                                                                                                                                    

t h e b ae softhetong ue.Thu s,themu scleswh ich

                                                                                                                                                       

  

MOUTH

 T R A C H E A

ig.3R

eson anceCavities

Theresonancecavitiesofthevoice,whenit isproperlyproduced,are:

. T he l arn y g e lap h a r y n . C

B.Theoralpharyn

. T h e n aa s l p h a rny

.

.D.Thetracheaand bronchi.

Thefirstthreecavitiesnamedare ad

ustablecavitieswhicharerelatively

undampedandwhichcanbeshapedfor theresonationofthetone.

Thetracheaandbronchiareadded totheresonancesystemfortheresona-

tionofthelowesttoneswhich demandalargerlonger

ad

partoftheresonancesystem,andthe ad

loo

cavitythancanbe

ustedbymeansofthepharyngealcavitiesalone.Thesecavities thenbecome

ustmentforthepitchand vowelis.

edafterbymeansofthe shapingoftheupperpartof thecompound

cavitythepharyngealcavities.

Thenasalcavityishighly dampedwithloosefoldsoffleshandi tisnot

ad

ustable.Therefore,itcannotbeemployedaspartof theresonancesystem.

Thesinusesarenon-ad

 

ustablesmallcavitiesandcannotfunctionas partof

thetunedresonancesystem.

Thepositionofthebaseof thetonguedeterminestheshapingofthepharyn-

g e a l c aivt i e s . I n t h i s i l l u s t r aito n , t h etongu e i s i n a n o r m a,lr e l a

e d p o stii o n

andisnotfunctioningin phonation.


 



                                                                                                                                                                                                     

  



    

determinetheproperresonancead

                               

ustmentofthetoneare primarily

thetonguemusclesandthemuscle whichisattachedfromthechin

tothehyoidbone.S

pecifically,then,theprincipalmuscleswhich

P A L A T O G - LO S

MU

S T

MU

G

S U

C L

L O G - O L S S

U

C L

N

MU

O -H Y O I O

C L

H Y O I

D B O N

i g . 4  M u s c lseo f t h e T o n g ueandHyoidBone

When thebaseofthetongue isdrawnforward,itopensthethroat and

shapesthepharyngealresonancecavitiesfortheresonationofthe tone.

Manymusclesofthetongueta

esomepartin thisshapingprocess,but

themostimportantmuscleisthe onewhichpullsthebase ofthetongue

forwardandthusestablishestheopening thegenio-glossusmuscle.O fe

ual

importanceisthemusclewhichis attachedfromthehyoidbonetothe chin

the genio-hyoidmuscle.Thefibersofthesetwomuscles,whichinsert into

thechinandinto thetongueandhyoidbone,aremoreor lessparalleland

bothmusclescomeintotensionfor phonationwhenthetechniciscorrect.

Themusclesusedtopush outthetongueareantagonistictothe genio-hyo-

glossusmuscles.Thuswhenthetonguecomesforward,thegenio-hyo-glossus


musclesrela

andthethroatcloses

therefore,constrictionisestablished.

shouldcomeintotensionforthe resonationofthetone,andwhich

must,therefore,bedevelopedandtrainedarethegenio-glossus

andthegn eio-h y o i d msuc l e s . (

eeF ig.4.)Th e s e m ucs l e s n o t n oly

shapetheresonancecavities,buttheyalsodeterminethe position

2

                                                                                                                                                           

                                           

  

       

ofthelaryn

,whichmust,atall times,beheldinits properposition

nottoolw o andnottooh igh.(

musclesarerela

eeF ig.12A-C

.)Whenthese

ed,theirantagonists(opposingcomplementary

muscles)comeintotensionandthe baseofthetongueis dropped

or,sometimes,raisedandheldbac

thelaryngealpharyn

againsttheposteriorwallof

,thusclosingandconstricting thethroat.

Tensiononthenec

muscles(seeF

ig.2

thiscondition,whichdeterminesthetechnick

)alwaysaccompanies

nownas"

throaty

singing.

Thepropertrainingofthe voicedepends,primarily,uponthe

correctdevelopment,balancingandco-ordinationofthesethree

group s o f m u s cel s . T hsid e v e lp om e n tta

e s p l a c eni s t a g e.sA

groupsmustbedevelopedsimultaneouslyandinbalance.I

balanceislost,e

llthree

fthis

uilibriumbetweenthepartsisdestroyedandthe

voicedeteriorates.

ocaldevelopmentdependsalsoupontheprogressiverela

ation

oftheinterferingmuscles muscleswhichcomeintotensionfor

throatytechnic.Theseinterferingmusclesarethenec

t h e m ucs l e s w hci h l o c

thej

muscles,

a w f o r a m otuh - vw o elprd o u c t in o, t h e

lipmuscles,whichfunctionforthe samepurpose,thetonguemus-

cles,whichareantagonistictothe genio-glossusandthegenio-hyoid

muscles,thechestmuscles,theshouldermuscles,e


onthee

p i r a troy m u s cel s a n d e

cessivetension

c e s svi e t e niso n o n t h e t h y r o ayr t e -

noidmuscles.i

Thereis,then,anareawhich shouldberelativelyrela

edand

whichshould,undernocircumstances,functionduringphonation,

i . e,.t h e c h e s, ts h o u l d ers,nc e

andj

aw.(

eeF ig.24A-

.)Other

areasofthebodywhichdo notfunctionduringphonationshould

notbetensed,despitethefact thataproperstateof muscletone

mustbemaintainedduringphonation.Nopartof thebodyshould

beover-rela

ed,i.e.,softandflabby.

Thediverseprocedures,whichmaybeemployedtodevelop

themuscleswhichshouldbeused duringphonation,andputout

ofactionthosewhichshouldnot beused,aredescribedin detail

inth isbo

.

Theseproceduresincludevariousphysicalmanipulationsofthe

laryn

,tongu e,j

aremar

TableI

a w , ect . , w hci h a c c eel r a t e t h e t r a i nni g p r o cses t o

abledg eree.

I

indicateswhathasbeenstatedinthis chapter.

Thevocalapparatusisa singleco-ordinatedsoundproducing

unit,eachpartofwhich isdependentupontheotherparts.I

fany

o n e p atrb r e a

t i s s i m i l ra

s d o w n , te ho t h e r p rat s b r e a

t o a n e l e crti c a l c i r u c i t c o ne nc t e d i n s rei e s ( l i

3

d o w n aslo . I

e t h e l i g hsto n a

                                                                                                                                                                                                                                                                                                                                                                                                                        

  

       

   

 

TA BL

A R E A

T

O F

N

N

PR I N C I P A L M U

C L

PR I N C I P A L I NT

S

U E D

R F E R I

NG M U

C L

    

.

c t u aot r

(Pressure

  

ofthe

breath)

Diaphragmaticmuscle

L o w re, b a c

Nec

r i b m u s lce s



m u s cel s

hestmu scles

hould e r m u s lce s

n s p iar t o r .yp l u s

p i r aot r y t e n sion

c e s svi e e

con

p i r aot r y t e n sionin

u n c toi n w i t h r eal

a t i o n fo

   

inspiratorytension

B.

i b r aot r


(La ryn

  

)

rytenoidmuscles

 



                                                 

                  

rico-thyroidmuscles

Thyro-arytenoidmuscles

Nec

                                                                                                  

m u s cel s

Tonguemusclesantagonisticto

thegenio-glossusandthe

genio-hyoidmuscles

cessivethyro-arytenoidtension

.

e s o ntao r

(Pharyngeal

cavities)

Genio-glossusmuscle

Genio-hyoidmuscle

a w m u s lce s

Lipmuscles

Nec

m u s cel s

Tensiononthemusclesantagon-

istictothe genio-glossusand

thegenio-hyoidmuscles

hristmastree).Thus,allthemuscleswhich functioninphonation

mustbedevelopedsimultaneouslyandinbalance e

i n e v e r ytsa g e o f t h e"

open ing

uilibrium

p r o cses .

When thevoiceisproducedproperly,the breathpressureis

held,

t h e l a rn y g e lam u s c l s e"

hold intheirresonn acead

hold

andtheph aryn g e a l c aivt i e s

u s t mn et . T h s ee "

holds occurwhen

themusclesinvolvedaredeveloped,balancedandco-ordinated

properly,andnototherwise.

Whenthetechn i c i s i n c o rer c t , e

uilib r i u m i s d etsr o yd ea n d t h e

breathisblownoutthrougha constrictionwhichisestablishedby

meansoftensiononthemuscles ofthenec

andtongue.Theproper

balanceandco-ordinationofthelaryngealmusclesis lost.The



mouth,insteadofthethroat,whichis constricted(closed)and,

therefore,outofactionasa resonator,isemployedastheresonator

ofthetone.Thistypeof voiceproductionmaybetermed"

s i n gni g

4

o r , q u i t e l i t e r al ly , " n e c

throaty

w h itsl i n g .

 



    

h a p tre1

G

N R A

L R E M A R K S

i n c e t h e pb ul i c aito n o f T h e V o i c e , I

t s P r o dcut i o n a n dR

e p r -o

duction,in1933,investigationshaveadvancedconstantlytoa

pointatwhichit becomesincumbenttoissueanaccountof the

findings.

A



greatmanyimportantproblemsregardingtheproperfunction-



ingofthevocal apparatusarenowsolved.Thenatureofthe

muscularactionswhichoccurwhenthevoice isincorrectlypro-

 

ducedisalsoclear.But, mostimportantofallarethe tremendous

advancesinthetrainingofthe voiceandtheprocedureswhichcan

beemployed.

saresultof theseadvances,theprocessoftrainingthevoice

hasbeenappreciablyspeededup.Manyofthe ratherunpleasant,

intermediateprocesseshavebeeneliminatedanditispossible to

ma

e t h e p u pl ip r o d u e c r e l a tvi e l y g o d q u a l iyt t o n e s a t a n a erly

stageinthetraining.

ertainmanipulationswhichmaybeperformedbytheteacher

havebeendeveloped.H appily,thesemanipulationseliminatethe

n e c essi t y f rot h e e

treme"carryingup

ofthelow e r r e g itse r a n d

theuseofhigh,shut-offtones inthefalsetto.

Manipulationsvs.O ldProcess


Beforetheevolutionofthesemanipulations,theonlyavailable

methodfordevelopingthelaryngealmuscleswasthatoffirst isolat-

ingtheregistersandthen wor

ingonthelaryngealmuscles,at

hightension,bycarryingeachregisterup veryhigh.Thishadto be

doneevenwhensuchuppertonesin bothregistersweresungwith

thethroatmoreorless constricted.Becausethelaryngealmuscles

canbedevelopedonlyunderhightension,this procedurewas

absolutelynecessary.I

tinvolvedtheproductionofq

uiteugly

tonesduringtheearlystagesof training.Nevertheless,theprocess

was,indeed,effectiveinma

ingmanyreallyfinevoices,andin

improvingeveryvoicewithwhichitwasused.

5

owever,ifitwas

                                                                                                                                                                                                                             

 



    

                                                                     

haltedbeforeacertainstagewasreached,the pupilwasinthe

unfortunatepositionofhavingrelativelygoodhighandlowtones

withagap , o r p o o r q u a l i t y a r e ,ai n t h e m i dlde o f t h e v oci e . F u r -

thermore,thescalewasuneven,bothfromtheintensityand the

ualitystandpoints.Thesubse

uitealon gdrawnou t a f f ari. I

uentopening-upprocesswasthen

fthisopn e i n gu- p p r o cses w a s n o t

carriedthroughcompletely,thepupilwasleftwith whattheunin-

formedteacherwouldhavecalled"

voice.

afine,untrained,crude,natural

nlytoooftenthepupil whoreachedsuchanintermediate

stagebecameconceitedandthoughtthathecould reallysingwhen

hewas,infact,merelya beginner.

PoorToneQ

ualityNoLongerNecessary

Thereisalsoanotherpointof viewthatofthe teacherswho

endeavortoteachaccordingtotheseestablishedprinciples.During

thetrainingprocess,thepupil,in carryingupthelowerregisterand

                                                                                                                                               

establishingtheveryhighfalsettotonesin theearlystagesoftrain-

ing,wasunavoidablyforcedtoproducetonesofunpleasantq

uality.

Beforetheintroductionofthemanipulations,theseratherunpleasant

toneswerenecessarytobringthe laryngealmusclesintoahigh

degreeoftensionandthusdevelopthem.No othermeansofaccom-

plishingthisendhadbeen devised.Unfortunately,certainteachers

too

t h i s s t tae m n ettomeanth atthequalityshou l d b e a s n a syt a s


possibleintheearlystages.This, ofcourse,iscontraryto fact.

urthermore,whiletheseveryhigh,lower-registertoneswereused

todevelopthelaryngealmuscles,pupilscouldnot usesuchtones

inperformance.Thus,despitethefactthatoften thelowerregister

canbecarriedup tohighBflat orevenC

intechnic,thisregister

inperformanceshouldgoonlyup toD(fourthline onthetreble-

clef)evenwiththeadvancedpupils,andthe average,q uitead-

vancedpupilshoulduseit uptoonlyaboutB flat.Nopupilshould

beallowedtoemploybadq

ualitytonesinperformance,Theheight

towhichoneshouldcarry thelowerregistermustbedetermined

bythepointto whichonecancarryit openwithapleasingq

Nowthingsareq

uality.

uitedifferent.Theprocessisnowfar more

direct,andalthoughaverye

earlyastage,whenitis

tendedrangeisnotattainedat so

attained,thevoiceholdsuppermanently.

Legitimate,free,open,hightonesareestablishedverymuchsooner,

andwhentheyareestablished,theyareneverlost, unlessthepupil

deliberatelydestroysthembyadoptingawrongtechnic.





 



    

TheTeacher

sE

ar

With thelatestdevelopmentsintheprocedureswhichcan be

applied,thepossibilityoftheseerrorsis greatlylessened.Thisdoes

notmeanthatateacherc anbetrainedina fewlessons.Theprocess

i s s t i l l a d i fi fc u l t a n d cm o ple

m a tet r .

 

Thecompetentteachermust,morethanever,haveasensitive

andtrainedear,ifhe istointerpretthe virtuesandfaultsofeach

particulartonethepupilis producing.H emustbeable tointerpret

theparticularsoundfromthephysical pointofview

physiologicalad

tosensethe

ustmentsofwhichthesoundbeingproduced is

theauditorymanifestationhemustbe abletohearthe physical

faultsaswellassee thosewhicharevisible.I

nutilizingthemanipu-

lationswhichfollow,theteachermustbe abletouse,andto be

guidedby,hisear.I

fhisearis notspeciallytrained,hecannotteach.

f c o u r s ,eh e m u s t k n o w t h e s o u n d o f a g r e a t v ioc e  h e m u s t k n o w

thesoundheis aimingtoma

ethefully-trainedpupilproduce.

With thesemostmodernprocedures,theprocessoftrainingis

clarified,simplifiedandspeededupgready.H

owever,thetraining

ofthevoiceis stillapersonalizedprocessandnot a"

Therenevercanbea

patentmethod

isaproblm e whichm ustbewor

canbedon eistoma

ora"

process.E

edoutonitsow n m e r ist. A

achcase

llthat

e c l e a r t h e gaol a t w h i c h te ht e a c hrei s a i m i n g ,


andtogie v h i m p r o cd eu r e s ad n"

tools

withwh ichtowor

Theprocedureswhichwereestablishedearlierwor

wor

patentmethod.

set

.

ed,and

edwell.Thesenewlyevolvedprocedures,however,wor

far

betterandmoreefficiently.Thefundamental(principlesare,of

course,unchanged.Theyaretrue,andtruthneverchanges.I

tis

onlytheprocedureswhichcanbe adoptedinordertoreach the

g o a l t htaa r e m o dfii e d , c h angd e a n d i m por v e d .A

sonewor

salong

thelinesindicatedbythe fundamentalprinciplesestablished,new

devicesandimprovedprocedureswillevolvecontinually.The

processoftrainingthevoicei salwaysbeingsimplifiedandspeeded

up.Thisprocessofdevelopmentmustcontinueandprogress,

asdoesallscientific research.Todootherwiseisto die.

7

                                                                                                                                                                                                     

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    

h a p tre2

O P

N

NG TH E

T H R O A T ( H T E

T O N G U )

e s o ntao r

tthispointa fewstatementsregardingthenatureofsoundarein

order,becauseoftheconfusionofideas whichseemstoe

teach e r s a n d s ig ne r s o n t hsis u b

istamongvocal

ect.

 

oundistransmittedthroughtheair, oranyothermediumsolid,

gaseousorli

uidwhichcan transmitit,bymeansofalternatecom-

pressionsandrarefactionsofthemedium.Thus,whensoundis trans-

    

mittedthroughtheair,theair particlesarealternatelygroupedmore,

andlessclosely,therebygeneratmgalternatecompressionsandrarefac-

tions.

oundtravelsfromitssourceat avelocityofabout12miles aminute

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(1100feetpersecond)in freeair.Thisrateof travelhasnothingtodo

withtherateofemissionof thebreathwhichonlytravelswitha velocity

ofaboutafewinches asecond.S

oundisnota streamofvocalizedbreath

                                                                                                                                                                                                                                                                                                                                                                                                                          



anddoesnottravelout fromitssourceina streamofair.

rlhepressureofthebreath inthelungsprovidesthe motiveforceby

whichthevocalcordsare vibratedanditis thesourceofthepressure

pulseswhichresultfromthealternateopeningand closingofthevocal

cords.

Theresonatorsofthevoiceconsist ofad


h a v ig nf l e

fre

ustable,air-filledcavities,

i b l e , dsis i p tai v e w lal s , w h ichmustbe"tuned

t o t h e n ee c s s ayr

u e n cei s i f t h e y aer t o a c t e f fci i e nlty .

naircolumn,thenatural periodofwhichisa hundredcycles,will

resonatetoahundredcycletiming for

,butwillnot resonatetoafor

w h i c h V i b r a t e,ss a y , t w o h u n d rd ea n d f i f t-ys i

tuningfor

tims ea s e c o n d .Whena

isbroughtintothe neighborhoodofaproperlytunedcavity

acavitywhosenaturalspeedofvibrationis thesameasthatof the

tuningfor

sound.

u a l l y lu od t u n i n gfor

s , a l l w iht d i f f ree n t s p e d s o f

vibration,arebroughtintotheneighborhoodofan aircolumnwhichis

tunedtothefre

for

willbepic

uencyofoneofthem,the tonesoundedbythistuning

edout,rs eo n tae d a n d h a erdabv o e a l l t h e oht e r f o r

s.

ibratingatitsfull length,thisstringwillgive outadefinitepitch

w h i c h i s dsei g n tae d " t h e f u na dm e n t a l t o n .e

ne

a c t l y sm i i l a r srti n g o r

wireatthesametension,but ofhalfthelength,will produceafunda-

8



 

Letusconsidera stringorwirestretchedto agivenlengthandten-

sion:V

 



the airinthis cavitywillcomeintosympatheticvibration

and,inthismanner,producean enormousamplificationoftheinitial

faseriesofe







 



    



m e nat l o f t w i c e te hf r e

u e n c y anoctavehig her.A stringn oethirdth e

lengthwillproducethefifthabovethis octave,andastringa

uarter

thelength,twooctavesabovethefundamentalofthefirst string,etc.

upps oe t h a t o n e g o e s t o t h e pai n o a n d h lod s d o w nthek eyforthe

t o n e mdi d l e C ( 2 5

cycls e) w i t hu ot s o u nidn g i t . H e w i l l , i n t h i s m an ne r ,

haveraisedthedamperfromthestrings andtherebymadeitpossiblefor

t h e m t o vbi r a t erfe e l .yI

cycls e) b y s t r i

fhethensou ndstheC anoctv ae b e lw o (128

i n g t h e k e y a n d t h e n l e titn g i t c o m e u p , t h e rb ey a l l o w ing

thedampertocomedownon thestringanddampthis toneout,middleC

(25

cycles)willbeheardto ringout.Thisstringcan onlyhavebeen

broughtintovibrationinsympathywitha soundsourcewhichproduced

i t s o w n n tau r a l fer

u e n c .yH e n c e , w henstri ingthekeywhichpro-

ducedatn oeoffre

25

u e n c y 18 2v i b r aito n s p res e c o n d ,thefre

u e n c y fo

vibrationspersecondmusthavebeengenerated.Butthisfre

uency

isthatofa stringofhalfthelength oftheonewhosefundamentalis128.

ThereforethelowerC

stringmusthavesegmentedinhalves.A

phenomenonoccurswhentheGk

ThusthelowC

ey,afifthabovemiddleC

similar

,ishelddown.

stringmusthavetrisected,etc.

ctuallywhenastring,or practicallyanyothersourceofsound,with

thee

c e p toi n o f a s p e cai l l y d eisg n e d t u n i n g f ro

o r e l e crti c o s c il la t o,ri s

broughtintovibration,itvibratesat itsfulllengthto producethefunda-

mental,orthelowestfre

uencywhichitcanproduce,and alsosegments


intohalves,thirds,fourths,fifths,si

ths,etc.,thusproducingaseries of

harmonicovertones.E achoftheseovertones,orharmonics,hasa fre-

uencywhichisawhole numbertimesthatofthefundamental.Thus,a

stringw i t h f u na dm e n tal1

willhv a e o v etro n e s fo3 2 , 4 8 , 6 4 , 8 0 , 9

,112,

128,etc.

nyphonatedsoundcanhavenotonly adefinitepitch,butalso a

definiteq

uality.Theq

ualitydependsupontheovertonespresent,the

intensityofeachovertoneandtheintensityof thefundamental(the

soundspectrum).

emember,eachfundamentalisassociatedwithaseriesofovertones.

tisthe accentuationofcertainbandsoftheseovertoneswhichproduces

w h a t i s c lal e d t h e " v o w e l s o u n d.

caseof"q

uality

or"

t i m ber ,

T h e t em r "

vow el

i s , t h e,na s p e c i a l

i n w h ih c c e r t ani g r o u p s o f h armn oicsare

eitheraccentuatedorsuppressedbymeansofthe shapingofthead

ust-

ablecavities.Theaccentuationorsuppressionofharmonicsby thefi

ed

cavities(thesecavitieswillbediscussedl ater)contributestothatpart

ofq

ualityortimbrewhichis generallysocalled.Thischaracteristicof

theq

ualityofthetonevaries intheindividualaccordingtothe sizesand

shapesofhisfi

edcavities.Mostofthe energyinthetone,however,is

concentratedinthefundamentalandthevowelareas.Thevariablefactors

lieonlyinthe proportionofvowelfre

uenciestofundamental,andinthe

possibilitiesofvoweldifferencesandmodifications.Thus,fromthe

s i n g re

s p o i n t o f vei w , q u a l i t y  e s p e ica l l y i f w econsid e r v a r ib al e q u a l i t y

ismuchthesames av o w e.lI

t i s a v e r y g o o d pal n , t h n e , f o r t h e sni g e r

toconceivethevowelsoundmerelyas theq

Theprincipalmeansofe

the" color.

greate

ualityofthetone.

pressioninsingingliesin whatistermed

o l o r c hn ag e s a r e c a t u a lyl v a r i tai o n s fot i m b r e ad n, t o a

t e nt , t a et he f o r m o fo v w e l md oi f i ctai o n .

nwritingtheE

nglishlanguageweutilizethefivevowelsymbols

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   





  



     

a,e,i,o andu.Thisdoesnot meanthatthereareonlyfive vowelsounds.

ctuallyovereightyhavebeenisolated.E

achofthesesymbolscan

representagreatmanydifferentvowelsounds.C

fore

onsidertheletter"

a m pel : T h e v o w elsoun d i n d i c tae d i n t h e w rod "

feren t f r o m t htai n t h e w o r d " f a t h e r .

man

a

isfardif-

T h e r e rae m a n y m oree

a m p lse, b u t

thepointisapparent.Notonly doeachofthe vowellettersrepresent

s e v rea l d i fef r e n t vw o elsou nds,bu t a l s o t h e l ette r s " a ,

i

and" o

are

oftendoublevowels(dipthongs).

Thevowelsoundisdeterminedbythe bringingoutofcertainbands

ofovertonesgenerallytwobandsand sometimesthreeandwhilethe

particularovertoneswhichareaccentuatedvarywiththefundamental,

t h e s e bn ad s h a e vafi

t h e f u na dm e n tal.(

edfre

e e T a bel I

u e n c yar n g e f roe a c h v o w e l , i r rsep e citv e o f

 a c o u s t ia c l g l o sa s r y).

Thefundamentalandallofits accompanyingovertonesaregenerated

atthelaryn

themomentthevocalcordscomeinto vibration.O urproblem

istofinda meansofpic

b a n d s fov o w e l fer

ad

ingoutandamplifyingthefundamentalandthe

u e n cei s . T hsii s a c c o m p lishd ebymean sofane

act

ustmentoftheresonancecavities.

We willnowconsiderwhichcavitiescanbe usedasvocalresonance

c a v iite s . (

a.A d

e e F i g s . 3 a n d 5) .T h e y a r :e

                               

u s t albe c a v iite s : 

1.Themouth.


2 . T h e l ayr n g a el p harn y

3 . T h e o r lap h a r n y

 t h e t o p o f t h e t h raot .

thecavitybh eindthem outh .

4.Thenasalpharyn

b.Non-ad

                                                                                                                                                                                                                              

the cavitybehindthesoftpalate.

ustablecavities:

1.Thepost-nasalcavitiesthe cavitiesofthenose.

2.Thetracheaandbronchi

theairpassagesbelowthelaryn

.

3.Thesinusesofthe head.

t h a s b e e n pion t e d o u t t h a t t h e por b l e m i s n oeofad

ustin gthe

resonancesystemwithgreatprecision(fora physiologicalprocess)for

thevowelandfundamentalwhicharebeingphonated.H

thefi

ence,while

edcavitiesmusthavesomeeffectuponthis system,andtherefore

contributesomethingtothetimbreorq

thesing er

uality,theydonotenterinto

sproblm e .

Thevowelsoundcanberesonatedeitherby theshapingofthemouth

c a v iyt o r o f t h e b a c

( p h ayr n g a e l ) c a ivt i e s . I f t h e m o u thissoshap ed,

allitsbou n d a rei s m u s t b e i n a f i

e d o r d e f iint e p o stii o n

a n d t h ee s

boundariesincludethesoftpalate,thetongueand theepiglottis.But

thesemembersarealsotheboundariesofthe pharyngealcavities,and

determine,bytheirposition,the"

m o uht i s "

set,

andresonancead

ble

set

ofthosecavities.Therefore,ifthe

t h e p o stii o n o f t h ebac

c a v iite s i s d e t rem i nd eb y t h i s " s e t ,

ustmentbymeansofthepharyngealcavitiesis impossi-

heycannotbeshapedforresonationof t thetone.

When thebac

cavities(thepharyngealcavities)areusedasthe

selectiveresonatorsofthevoice,interad

ustmentbetweenthelaryngeal,

oralandnasalpharynges,andvariationsinthe sizeoftheopeningto

themouth,betweentheuvulaandtheepiglottisor thebaseofthetongue

70

                                                                                                                                                                                                                                                   

  (seeFig.5),ma

eitpossib l e f o r t h e s ig ne r t o " s e t

systemwithgreatprecisionandsensitivityforall thefre

t h e r eo s n a ne c

uencieswhich

shouldberesonated.Themouth,whichisa singlecavity,cannotinter-

ad





         

                    

u st

BR A I

N

C R A N

F A L

UM

E

V O C A LC O R D

TR U

LC

A D A M

S

(TH Y R O I

V O I

C E

W I N DP

ig.5 C

P

D

A P PL

D C A R T

B O X

(TR A C H E

r o ss S

LA G

)

L( A R Y N X )

A )

e cito n foa H u m a n H e a d

Theaboveshowsthevocalapparatusandshouldbe referredtomanytimes

inthestud yofthisboo .

Thepharyngealresonancecavitiesandthehighlydamped,fi

ednasalcavity

areclearlyshown,asis thetrachea,whichforthelow tonesbecomesinvolved

intheresonationofthe tone.

When thetechnicisgood,the mouthandlipsmaybe heldinconstant

position,andthevowel,thefundamental,orbothcanbe varied.I

nversely,

themouthandlipscan bemovedwhilethepitch,thevowel,or both,

areheldconstant.Theseoperationswouldbeimpossibleif themouth

71


  

                                                        

                                                  



  



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                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                  

ustableresonator.Thisis,then,afurtherproof

ofthefactthat thepharyngealcavitiescanandshouldbe employedas

theprincipalresonatorsofthevoice.

When thetechnicisfaulty,the mouthisset,andset rigidly,ina

definitepositionforthevowel,andanymovementofthe lipsorj

modifiestheq

aw

uality.Thisstateofaffairsis alwaysassociatedwithan

unpleasant,throatyq uality.

romthephysiologicalstandpoint,thesettingofthe

siontothemusclesof thenec

awreflectsten-

.Thisinterferesdirectlywiththe proper

functioningofthelaryngealmuscles.Therefore,whenthemouthisused

asthevowelresonator,seriousmuscularinterferencewithphonationis

boundtooccur.

Theuseofthemouth asthevowelresonatorpresupposesthecollapse

ofthelaryngealpharyn

.Thiscollapseis associatedwithtensiononthe

constrictormusclesofthelaryngealpharyn

whichdirectlyinterferes,

mechanically,withthelaryngealaction.

ere,th e n , i s a v i t lal a w o f g o d o t e c h nci : T h e p h ray n gael , o r b a c

,

cavitiesshouldbeusedas theresonatorsofthetone.Themouthcavity

shouldbecompletelyoutofaction(i.e.,resonancead

ustment).

nviewofthefact thatthesoundis communicatedtotheouterair

throughtheopenmouth,thiscavitymust havesomeeffectuponthe

uality.Thevitalpoint,however,isthat,in goodtechnic,themouthis


neverusedasaselectiveresonator

isnever"

set.

nyvowelsoundmustalwaysbeassociatedwitha fundamental,the

pitchofw hichcanbea vried .I

naman

s v o i c ,ep r a c tci a l l y al lt h e v o wle

soundscanbeformedoverthe entirerangeofthevoice.This,however,

isnottrueof thewoman

h i g h ret h a n a m a n

svoice,becauseitis pitchedaboutanoctave

s.

Becausethefundamentalisthelowestpitchpresent,it isimpossible

forthesingerto producethesamevowelsoundfora vowelwhosefre-

uencycharacteristicisconsiderablylowerthanthefundamental,ashe

wouldproducewerethefundamentalatalowerpitch. When,in vocal

music,avowel,whoselowerfre

uencyisconsiderablybelowthefunda-

mental,iscalledfor,thevowelsound must,perforce,bemodified,since

anyattempttoperformtheimpossible,i.e.,tosing avowelincon

withafundamentalwhosefre

lowerfre

unction

uencyisseveraltonesabovethatof the

uencyofthisvowel,isabortive,andmust effectageneral

disruptionoftheresonancesystem,withtheresultantproductionof an

e

trem elyunp leasn atsoun d.I

thevow el"

ee

f a w o m a,nf o r e

(asin"meet

e m i titn g a n u n p l e a sn at s c r e m a ors

a m pel , e n d a e v osrt o s i n g

) o n a h i g h C , s h e w i l l m e r eyl s u c c e d ein

uea

a n d s h e wl il n o t p r ou dc e t h e

e e v o w e.l



romthepointofviewof diction,thisforcedmodificationofvowels

fortheuppertonesis notasseriousasone wouldatfirstsuppose.The

reasonforthisstatementliesin thefactthatit istheconsonants,farmore

thanthevowels,whichma

Thisbringsusto theq

A

eforintelligibility.

uestion:What isaconsonant

consonantisasoundof definite,andusuallytransient,q

ualitychar-

acteristics,whichcannotbeassociatedwitha variablefundamental.

Thus,duringtheproductionofthe consonantsound,thevocalcordsare

separated,andarenotinvibration.I

72

notherwords,theconsonantis anin-



 



    





terruptionofthephonatedtone.I

tcannotbephonated.F

urthermore,any

attempttosingthroughtheconsonantis utterlydestructivefromthepoint

ofviewofresonancead

ustment,aswellasfromthat ofclarityofdiction.

While thisdefinitionisnotin accordancewiththegenerallyaccepted

theoryofphonetics,itis valuableforthepurposesofour presentdis-

cussion.F

romtheviewpointofthesinger,he iseitherphonatingor

interruptingphonation.I

tisfar betterforhimtoconsider theinterrup-

tionfactorasthe consonant,becausetheproblemwithwhichhehasto

deal,inthisconnection,is oneofclarityofdiction. Thisdependsupon

vigorous,rapidmovementsofthearticulatingmembers.Theserapid

movementsofthetongue,lips,etc.,interruptphonationandformthe

consonants.

                                                                                                                                   

Thebaseofthetongueconstitutesthe frontwallofthelaryngeal

p h a rny

( s e e F i g . 5 ) a n d t h i s w al lm a y v i rut a l l y s as u m e n ayposi-

tionaccordingtothedistribution oftensionamongthemusclesof

t h e t o nu ge . I

n o t h e r wrod s , t h e oe pn i n g ad n"

h o l dni g o p e n

ofthe

throatdependuponthetensionon,and thepositionof,thebase

ofthetongue.

TongueMuscles

Nodetaileddiscussionofthetonguemuscles isnecessary

m a y b e l o o e d u p i n a n y r ei la b l e t e t b o o

thes e

o n a n aot m y . H o w e v re,

thesubstanceofthetongueconsists principallyofmusclefibers


runninginalldirections.Thesemuscles comeundertwogroupings:

Thee

trinsicandtheintrinsic.The e

trinsicmusclesofthetongue

are:Genio-glossus,hyo-glossus,stylo-glossu s,chondro-glossus,pal-

a t o -lgo s s u s.(

eeF

ig.4.)

Thevitallyimportantoneofthesemuscles,whichshould come

intotensioninsinging,is thegenio-glossusmuscle,whichmuscle,

actingwiththegenio-hyoidmuscle,holdsthebase ofthetonguein

tensionawayfromtheposteriorwallofthe laryngealpharyn

(see

igs.4& 5)andthusp o e n s t h e trho a t .

Thesemuscles,actinginco-ordinationwiththeintrinsic muscles

oftheton gue,op e n t h e t hor a t , " s h a p e

t h e l a rnyg e a l pa hr y n

for

theresonationofthetoneand holditin position.

When thegenio-hyoidmuscleistensedin co-ordinationwiththe

genio-glossusmuscle,itholdsthehyoidbonefirmly inposition

a n d s t ospi t f r o m r i sni g o r d e s cn ed i n g .(

eeF

ig.4.)

nviewofth e f a c t t h a t te hh y o i d b n o e i s h e l d f im r l y i n p oist i o n

bymeansoftensiononthe genio-hyoidmusclewhenthetechnic

iscorrect,andthat thebaseofthetongueis heldforward,butnot

dropped,becauseoftensiononthegenio-glossusmuscle,theshap-

ingofthepharyngealcavitiesta

Thebaseofthetongue"

73

holds

esplaceabovethehyoidbone.

andthepharyn

is"

shaped

because

                                                              

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oftheposturethetongueassumes.I

arerela

                                                                                                                                                                   

fthegenio-hyo-glossusmuscles

ed,thetongueandhyoidbone willdrop,andtheresonance

chamberwillbeformedlowerthanit shouldbeby droppingthe

tongue.Thus,whenthetechniciscorrect, thevowel"

ah

isresonated

w i t h t h eot n g u e rlea t i e v l y f l atte n d e

butthevw o eldar

resonatedwiththetonguearched.A

nelongatedcavityisthus formed

whichwillresonateforthestrong,lower vowelfre

thedar "

ee. W

h e n t h e s ig ne r m a

ee

is

uencybandof

e s a t h r o tay t o n e , h edropsth e

baseofhistonguein ordertoformthisvowel.W

t h e h y iod b o n e a n d thel arn y

ee

henhedoesso,

alsodrp o  t h i s c a n b e f etl. T h e d a r

vow elthusprd oucd e i s n o t r e a lyl "

dar

itisthic

Thus,forproperopen,pharyngeal resonancead

a n d t h r o tay .

ustmentthe

baseofthetonguepivotsat thehyoidbonewhichisheld up,in

itsproperposition,andthead

ustmentsaremadeabovethispivoting

point.Thebaseofthetongue andthehyoidboneshouldnever

movedowninordertoshape thepharyngealresonancecavities.

While itistrue thatinmostcaseswherethe singerdropshis

tongueandhyoidboneheis endeavoringincorrectlytoproduce

a"

dar

"

or"

m e lol w

tone.S omewh i t e , t hor a t y t n o e s a r e aslo p r o -

ducedwiththetongueandhyoid bonedepressed.I

tis,therefore,

thetonguewhicharticulatestheconsonantsandthe baseofthe

tonguewhichresonatesthevowels,becauseit"

shapes


p h ra y n

.(

eeFigs.3&

thelaryngeal

5 .)

urproblem,then,isto bringthesemusclesintotensionduring

phonationandtostrengthenthem,sothatthey willholdtheir

tensioninco-ordinationwiththetensionon thebreathingmuscles

andonthelaryngealmuscles.Thisdemandsa highdegreeofdevel-

opmentandaccuratead

Dar

ustmentandco-ordination.

T oe n

n t h e e a r l ytsa g e s fot h e "

ducea" dar

*

o p e nni g

procs es , t h e p u p i l m u s t por -

tone,s ep e cai l l y i n t h eaf l s etto r e g itse r . I

e v e r ya cseoffau ltytech n i c , ep s e c i lal y i n t h e e ral y s t a g es,a"

*

n p r a c tci a l l y

w h iet

A toneconsistsofthefundamental(thepitch ofthetonebeingsung) and

alltheovertones(harmonics).

Theovertonesareaccentuatedbymeansofresonancead

ustment,intwo

areas,orbands.

Thespectrum(distributionofthefundamentalandits overtones)thus

determinedgivesrisetothevowelsound.

When thelowerbandofovertonesis strongwithregardtothe upper,the

t o n e ( rov o w e)li s d a r

.Whentheupperbn adisstron gwithreg ardtothe

       

lower,thevoweliswhite.

Thesoundspectrumcanbephotographedandthe vowelandvowelq

(dar

o r w h i t)ec a n b e d e f iint e l y " r e a d

uality

fromth ephotg oraph .



e e T h e S c i e n c e o f V o i c e ( tihr d e d i toi n ) p a g e372.

74

                                                                                                                            



 

 

   

t o n e i s t hor a t y a n d , t h eer f o r,el e a d s o n lytoshou ting,s

screaming.I

tial,"dar

uea

                                                                                                     

ingor

nthepast,the onlymethodofengenderingthisessen-

"

tonews ab y i m i t tai o n . I n v e r y b d acases,v eenthi s

tediousanddifficultprocedurewouldsometimesfailtoeliminate

thethroatiness.

TongueI

nstrument

igure6

showsaveryeffective,speciallydesigned,smallinstru-

mentwhichfitsunderthe tongueandwhichcanbeused topress

t h e t o nu ge b a c

i n t o i t s por p e r p oist i o n .I

n u s i n g t hsii n s t r u m e n,t

thetongueisraisedand pointedupwardandthenpressedstraight

bac

 n o t d ow n .(

ig.6

Tong ueI

eeFigs.7& 9.)

nstru ment

Thisinstrumentwasdesignedforthepurposeof developingthemuscles

ofthetongue especiallythegenio-glossusmuscle.I

tsvaluetothevocal

teacherisinestimable,becauseitsusespeeds uptheprocessoftraining the

voicetoane

traordinarydegree.Nevertheless,itsemploymen tmustbesub

t o a l l t h e c od ni t i osno u t l i n edinthete

t.I

ect

f i t i s u s e d i n c ror e clty i t c a n b e cm oe

mostharmfulorevendangerous.

Thewidthoftheend whichpressesagainstthetongueis about3.25cen-

timetersanditsheightabout2.25 centimeters.Theover-alllengthofthe

instrumentisabout23centimeters

.Partofthe lowersurfaceiscutaway

sothatitwill nottouch,andhurt,thelittle cordunderthetongue.These


generaldimensionsseemtobebest,becauseif itwereanylargerit would

pressagainstthegumsandhurt thepupil.Thetwotopviewsin thisillus-

trationareactualsize.

Theinstrumentshouldbemadeofstainlesssteel orofcopperheavilyplated

withchromium.S

tainlesssteelisbest.

tis,ofcourse,essential thatthisinstrumentbesterilizedeach timeitis

used.

75

                                                                                                                                                                                              



  



     

                                                                                  

Theinstrumentshouldfirstbeplaced lightlywithoutpressure

againsttheundersideof thetonguewhichshouldbepushed

s t r agi h t  h o r i zn ot a lyl  b a c

attac

t h e t o n.eA

shema

u s t a n i ntsa n t b eofr e t h e p uipl i s t o

e s t h e a tat c

theton g u e r e a tcs a g ani s t

theinstrumentandthegenio-hyo-glossusmusclescomeintotension

refle

l y , t h ree b y p u llingth e b a s e o f t h e tn og u e f row a r d .(

eeF ig.

11.)Themusclesofthetongue mustnotbetensedbeforethe

momn etofattc a

.Theybc eo m e t n e s e r elfe

ig.7Usingth eTongu eI

lyforthers eo n tai o n o f

nstru ment

nusingthisinstrumentthe pupilmustpointthetongueupwardtoward

theroofofthemouth,being carefulnottobendit overbac

itwhileitis

beingpressedbac

wardsortense

.Theendofthe instrumentisplacedagainst

theundersurfaceofthe tonguewiththeopeningfacingdownwardssoas

nottopressagainstthe littlecordunderthe tongue.When thetonguehas

b e e n r lea

e d , i t i s c a rfeu l l y a n ddelib e r a t ley p r e se s d a l l t h e wyab a c

. N o t ie c

thattheinstrumentispointingslightly upwardnotdownwardso thatthe

tongueispressedbac

,notdown.Thisis veryimportant.Notethattherod

oftheinstrumentrestsin thecurvebetweenthethumbandfirst finger.This

inhibitsperpendicularmovement.

thetoneandtheyset thepharyngealcavitiesinthee

actresonance

position(shape)fortheresonationofthe pitchandvowel,atthe

p r e c iesm o m etno f a t t a c

.I

f t h e y b eo cmeten s e t o o s on oo r t o o


latetheco-ordinationisdestroyedandthe toneisthroaty.I

tisthe

reactionofthetongueagainstthe instrumentthatbringstheproper

m u s cel s i n t o r el fe

bac

fthetong ueisrela

bac

7

t e n soi n . W h e n t h e t i p o f t h etongu eispressd e

,itsbasecomesforward,therebyopeningthe throat.

e d , i ntse a d o f t n e s e d , fat e r i t h a s b e e n p r esse d

, t h e t e ah cerisliab letopushitdow n t h e p u pl i

s t h r o a.t(

ee

                                                                                                                               

                                                                                                           



   



     



i g . 8  T h e T o nu ge i n N o r m al

ela

e d P o stii o n

i g . 9  T h e T o nu ge P u s h edBac

orrectlybytheTongue

nstru ment

ig.10.)Thisis harmfulandproducestheoppositeresultfrom

theonedesired,because,whenthetonguedropsdownthe throat

andthetonguemuscleswhichare antagonistictotheactionofthe

genio-hyo-glossusmusclescomeintotension,athic

,throatytone

isproduced.

Theteacher,orthestudenthimself,in usingtheinstrument,must

ma

e c e r t ani t h a t h e n eevr p u s hset h e t o n ge ud o w n . W h e n t h e

tongu e m u s cel s a r e v eyr w e a

t h e i n srtu m n e t m u s t b e ue sde

t r e mley

cautiouslyornotusedat all.

Thevalueofthisinstrumentis tremendous,becauseitenables

t h e p u pl it o p r o d u cea"

dar

"

toneim m e d itae l y . I t

s t a rstt h e p r o p er

tonguemusclesinactionandis apotentinstrumentfordeveloping

thesemuscles.I

tgreatlyspeedsupthe processoftrainingthevoice

andenablestheteachertowor

on,andhelp,thesevitallyimportant

77


      

         

                                                                                                                                             

  

 

    

               muscles,whichareoneofthe fundamentalfactorsuponwhicha

propertechnicdepends.

ig.10I

n c o r rcet U s e o f T o n gueI

nstru ment

 T h e t o n g u e bien g p u s h e d d o w nht e p u p i l

himtoproduceane

s t h r o a t te hr e b yof r c i n g

tremelythroatytone.

BThetonguebeing pushedupinsteadofstraightbac

.Thisservesonly

tobunchupthe baseofthetongueanddoes notbringthegenio-glossusmuscle

intotension.

 T h e t o n g u e ntop u s h e d b ac

thepupilhasfailedto rela

deavorstopushitbac

farenu ogh.Th i s c o n dtii o n o c u crswhn e

histongueatthemomentthat theteacheren-

.Theresultof thismisuseoftheinstrumentis tobunch

upthebaseof thetongueandinducethroatiness.

u i il b iru m

Nevertheless,wor

onthetonguemusclesis

itisaccompaniedbythe properwor

uitefutileunless

ontheregistrationactionand

onthebreathingmuscles,becausephonationisa singleco-ordinated

act.E

achofthethreefactors

thelaryngealmuscles,thetongue

musclesandthebreathingmuscles areofe



ualimportance.These





threegroupsofmusclesusedin phonationmustbedeveloped

      

simultaneouslyandbalanced.O ver-developme ntofanyonegroup

isharmfulnot beneficialbecauseitdestroysthe e

t h e s y set m . F u r t h e r mroe , t h e t h r o a t c a ivt y c a n o t "


uilibriumof

hold

open ,in

itsresonanceposition,unlessthemusclesof thevibratorthe laryn

are sufficientlydevelopedforittobe possibleforthevocalcords

togenerateenoughsoundenergytoactuatethis open,"

tuned

cavity.

Theconceptofe

uilibriumisimportant.Thethreesystemsof

musclesusedinphonationmustbalanceand holdine

uilibrium

againsteachother.Thismeansthatthe membersemployedin

78

                                                                                                



                                                                                                                                                                  



 







p h o ntai o n m u st"

hold,

i . e,.m u s t n o t m ove.Eq

notonlyb etwentheton g u e , l ray n

a n d t h oar

uilib riummu stoccur

,butalsoinec ah

partofthesysteminvolvedin phonationseparately.

uilib riummu s t o c c u r i n t h eht o r a

muscleandthemusclesofthe bac

, b e t ween t h e d i p ahrag matic

ribs.Thus,thediaphragmatic

muscleisheldout,while thelower,bac

ribsaredistended.

Thediaphragmcomesforwardwhiletheribmusclese

bac

pand

ward s,andths ee a n t g a o n itsi c m u s lce s m u s t e

ertane

ualpull

againsteachother,andbalance,thusholdingthe pressureofthe

breathagainsttheclosureofthe glottis.I

thee

foneoutpullstheother,

uilib r i u m i s d etsr o yd e, t h e w e a e r g r o u p clol a pe ss,andth e

h odl

i s l os t . (

e e F i g . 2 4. )

uilib riummu s t o c c u r i n t h e lray n

laryn

i s m a i nati n e d b yht e e

.Thee

uilib riumofthe

u a l ia z t i o n o f te h"

pull

o f t h e t hryo i d

musclesagainstthatofthearytenoidmuscles.This antagonism

mustbeabsolutelybalancedatall timesduringphonation.The

co-ordination,i.e.,theactualamountofarytenoidasagainstthyroid

tension,dependsuponthepitchandloudnessof thetone.Thisis

whytheproper,andbalanced,developmentofthelaryngealmus-

c l e s , ie. . , t h e rg ei s t rtai o n a cito n , m u stbewor

edout.(

eeF ig.3

uilibriummustoccurinthe musclesofthetongue.Theymust

balancewitheachother,inorder toholdthetonguefirmlyin

e


uilib riuminitse

p h a rny

a c t p oist i o n f rot h e s h a pni g o f t h e l ayr n g a el

, i . e . ,of r t h e p r oe pr r e s o n a t i o n fot h e t o n .e(

eeF

ig.4.)

TonguePosition

When usingthetongueinstrument,thetipof thetonguemustbe

pointeduptowardtheroofof themouth.Thisenablestheteacher

toutilizetheinstrument,becausethereaction ofthetongueagainst

itengenderstensioninthe genio-hyo-glossusmuscles.However,the

tongueshouldneverbepointedupwhenthe instrumentisnot

beingused,becausethenthereis nothingforitto reactagainst

andthetendencywouldbe,therefore,toma

.)

                                                                                                                                                                                                                                                            

ethepupilswallow

histongueandthusproducea throatytone.

When theinstrumentisnotbeing used,thetipofthe tongue

shouldpointdownanddrawbac

ashortdistancefromthelower

teeth.Thisproducesasortof foldingactionofthetongue,whereby

itstip,whichis pointingdown,goesbac

pulld e f o r w rad . (

alittle,whileitsbase is

e e F i g . 1 1).W h e n t o o m u c h o f t h e fol o r o f t h e

mouthisvisible,thetonguehas beendropped,orswallowed,and

thetoneisthroaty.O

fcourse,theactualpositionof thetongueis

determinedbythead

ustmentnecessarytoshape,ortune,the

79

                                                                                                                                                                                           

  

       



pharyngealresonancecavitiesforeachchangeofvowel,colorand

pitch.I

tisimportantto realizethat,whensinging,thetipof the

tongueshouldneverpointupduringthe phonationofthevowel

                                  

(tone).

ig.11Tong u e i n P o stii o n f o r R e s o n aito n o f W e l l - p rd ou c e d Tn oe

Thebaseofthetongueis drawnforwardbecausethegenio-glossusandthe

genio-hyoidmusclesareinpropertension.Thethroatis thereforeopened.

Notethatthetip ofthetongueispointeddown,and drawnbac

somewhat

 

fromtheteeth.Note,also,thefoldedpostureof thetongue.W iththetongue

i n t h i s p oist i o n ,thevow elprodu c e d i s p r oa bb l y a d a r

ee

v o w le, b e c u ase

thecavityisrelativelylong.

Pharyngealresonancead

thebac

ustmentoccurswhenthespacebehind

ofthetonguehasbeenshaped,or tuned,properlyfor

theresn o a t in oo f t h e t o n .eT r u e , te hn a s a l p h aryn

resonancead

ta

espartinthe

ustmentforagreatmanypitchesand vowels,butit

isthesectionof thecavity(seeglossary)whichis shapedbymeans

ofthebac

ofthetonguethatis offirstimportanceinsinging.

When thehyoidbone,tongueandlaryn

cavityistoolow

aredropped,theresonance

actually,inpractice,whenthesingerendeavors

80


        

                                                                       

                                                                                              

 







                                 

touse,orshape,the pharyngealcavitytoofardown,hewillinevit-

ablymerelysucceedinproducingthroaty,mouthresonated,tones.

Manypupilsclingtothis technicbecausetheyfeeladoublecon-

i g . 1 2  P o stii o n o f H y o i d B o n e ad nL a r y n

C

o r r e tcp o s i toi n o f l a r n y

a n d h yiod b o n e d u r i n g t h e por d u cito n o f a

technicallycorrecttone.Notethatthe laryn

andthatthehyoidboneis

isneitherdroppednorraised

heldinposition.Theseareconditionsfor anopen

 n o t t h r o a t y tone.

BDroppd elaryn

a n d h y iod b o n .eN o t e t htat h e l a r y n

hasdrp opedacon -

siderabledistanceandthatthehyoidbone hasdroppedalso.Thishappens

whena"thic

R

"

o r l o u d wiht e , t hor a t y t n o e i s p r o dcue d .

aisd elaryn

a n d h y iod b o n .eN o t e t h tat h e l a r n y

becomeelevated.Thishappenswhenathin"

white,

t r o l  w h ih c p e r t ani s t o t h e m ucs l e s o f t h enec

thetonguewhichdrawitdown andbac

thenproducee

a n d h y iod b o n e h v ae

throatytoneisproduced.

andthem uscls eo f

intothethroat.They

tremelythroatytoneswhichareactuallymouth

resonated.Whenthe toneisreallypharyngeallyresonated,the

onlytension,orcontrol,whichholdsthe positioning,orshaping,

ofthecavitypertainsto themusclesofthetongueand thehyoid

bone,i.e.,thegenio-hyo-glossusmuscles.Thepharyngealresonance

c a v iyt i s r e l a tvi e l y hgi h  i t i s n o t d o w n t h e t h r o a, to r n e c

.



TheTongueandThroatiness






Thereareseveraltypesofthroatiness,causedinitiallyby the

      

positionofthetongueandtensionon thetonguemuscleswhich

                                                                                                    

areantagonistictothegenio-hyo-glossusmuscles.

nthefirst,the tipofthetongueis pulledforward,anditsbase

bac

andup.(

eeF

ig.12C.)Thisprodu cesa"

w h i t-et h r a oty

tone.

omemisguidedteacherstelltheirpupilsto pressthetongueagainst

81

                                                                        



          

   

                                                                  

  

       

thelowerteeththis isaveryefficientmeansof engenderingthistype

oftone.W henthisformofthroatinessoccurs,the uppersurfaceof

thetonguewillbeseen toformagroove.A

t h e n , a sgi n o f t h r otai n ess. A n e

grooveinthetongueis,

trem elythra oty,w hiteton eisalso

producedwhenthebaseofthe tongueisdroppedandthebody

ofthetongueis verydeeplygrooved.A nothertypeofthroatiness

thic

t h r o tai n ess i s c h a r a cet r i z d e b y a n a p p rae n tyl "

u a l iyt . I

dar

,

thic

t o c c u r s we hn t h e t o n g u e r e l a e s , d r ospd o w n t h e t h roat

a n d i s t e ne sdinthisps oi t i n o.(

eeF

i g . 1 2 B).

                                                                                                                 

ig.13HyoidBoneMan i p u l tai o n

Theinde

f i n greo f e a c h h a n d i s p l a c e d r tah e r f rab a c

u n d ret h e

hyoidbone,andthethumbsplacedunderthe chin.Theteachershouldthen

tellthepupilto rela

and,havingliftedthehyoidboneup intoitsproper

position,heshouldholdit therewhilethepupilsings.I

nmildcasesofthroat-

inesstheeffortnecessarytohold upthehyoidbonemaybe relativelyslight,

butinbadcases theteachermayhavetoe

accomplishhisend.A

suree

ertaveryconsiderableeffortto

nydownmovementofthehyoidbone,againstthepres-

ertedbytheteacher,destroystheefficacyof thismanipulation.

Thus,whenthetongueisdrawnup andbac

,ordownandbac

therebynearlytouchingtheposteriorwallofthe laryngealpharyn

,

,

thetoneisthroaty.Theteacher mustbeabletodistinguishbetween

adar

, o p e n t oe na n d a d a r

,thic

-thra otyton e.


yoidBonePositionofLaryn

Thehyoidboneissituateddirectly behindthelowerborderof

thechin , i n t h e o r dni a r y a titt u d e fot h e h e a d .I

entiretythroughthes

82

t m a y b e f e l t i n ist

in.Thebaseofthe tongueandthegenio-

                                                                                                                

                                                   

                                          



                                       

hyoidandmylohyoidmuscles,whichformthefloorof themouth,

areattachedtoitsupper border.Thelaryn

issuspendedfromits

lowerborderbythethyro-hyoidmembraneandthethyro-hyoid

ligam ents.(

I ND X

eeF igs.2&

F

I NG

4) .

R

(PressUp)

TH UMB

 ig.13



yoidBoneManipulation(concluded)

BThisfigure indicatesthepointonthe hyoidboneagainstwhichthe

inde

fingershouldpressupand,in certaincases,forwardwhenthismanipu-

latin o i s b e i n g p efro r m ed.I

talsoshw o s t h e p oni t i n t h e f r n otofthenec

at

whichthethumbsshouldrest.Themanipulationis performedwithbothhands,

symmetrically.

When thebaseofthetongue isheldforward,i.e.,whenthethroat

is"

opened,

becauseofthetensiononthe genio-hyo-glossu smuscles,

thecurveatthe baseofthetongueis straightenedout(seeF

9&

igs.

1 1 .)

When thetonguedropsbecausethegenio-glossusandthe

genio-hyoidmuscleshaverela

ed,andtheantagonisticmusclesof

thetonguehavecomeintotension,the hyoidbonedescendsand

83




                                                           

                                                                      



  



     

thelaryn

                                                                                           

alsodropsaconsiderabledistance.Thisestablishesthe

conditionsforabsolutethroatiness,becausethedroppedtongue

closs et h e t h r ota. A

s i g n o f t hor a t ie ns s . (

ne

c e s svi e l y d rp op e d l ayr n

i s , t h ree f oer , a

eeF igs.10A & 12B.)

Thereis,then,acorrect positionofthelaryn

andhyoidbone.

f t h e y a r e tooh i g h , o r t o l o w , t h e tn oe i s t h r o tay . I

n p r a c tci e ,

thetongueandhyoidboneare farmoreoftendroppedthanraised

whenthetechnicisthroaty.This formofthroatinessisalwaysaccom-

paniedbysomedegreeofmi

edregistration.

When thegenio-glossusmusclebecomestense,thegenio-hyoid

muscleshouldalsobecometense,therebyholdingthehyoidbone

inpositionandhelpingto eliminatethe"

Thecorrectpositionofthe laryn

swallowing

ofthetongue.

shouldbemaintainedatalltimes,

irrespectiveofpitchorvowel.Thehyoid boneshouldneitherdrop

norrisetoofar.

yoidBoneManipulation

Where thehyoidbonedrops,itmay beheldupby theteacher

byinsertingtheinde

fingerofeachhandundereach sideofthe

hyoidbone,withthethumbspressingup underthechin,andlifting

itupj

u s t b eof r e t h e p uipl a t t a c

s t h e t o n .e(

eeF igs.13A &

B.)

Thismanipulationmustbemadebefore notafterorduring the

attac

. T h e p u pl im u s t r eal

s o t h a t t h e t ecah e r c a n m a e t h e a d


m e n.tI

n m a n y c aess t h e I

r y o i d bn oe s h o udl b e p r e se sdforw ardas

wellasup.

Thismanipulationisoftenveryhelpfulin alleviatingthroatiness.

fthereisany sorenessoftheglands,whichoftenoccurs inbad

casesoffaultytechnic,thismanipulationmaybe somewhatpainful.

Norm a l l y , hw o e v re, i t i s n o t . E v e n w h e n t hsis o r e nses e

generallydisappearsinafewlessons.W

ists,it

herethedroppingofthe

hyoidboneisverypronounced,itis ofteninadvisablefortheteacher

tousethetongueinstrumentuntil thisconditionhasbeenalleviated.

n s u c h c a sse, r e a lyl d a r

, l o w e-rr e g i s t e r t oe ns s h o udl n o t b e s u n,g

becausesuchtonestendonlyto dropthehyoidbonestill further.

tremewhiteness,however,shouldnotbeemployed.

Thedroppingofthehyoidbone iscausedbytherela

ationof

thegenio-glossusandgenio-hyoidmusclesandbythetensingof

t h e t o nu ge m u s cel s w h i h careantg a o n itsi c t o t h e m .(

Thistensionmaybeso greatthatitre

teachercane

eeF

ig.4.)

uiresalltheeffort thatthe

ertifheis toovercomethisantagonistictensionand

succeedinholdingupthe hyoidbone.C onstrictortensionscanbe

incrediblystrong

84

ust-

                                                                                                                                                      

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 

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    

                                               

fterthetongueinstrumentisused forawhile,it maybeaban-

donedtemporarily.Whenan openingoccursitsre-employmentis

u s u al ly i n d i a cted.In thiswy a t h e r e i s a d i rcet m e a n s fow o r

ing

onthetonguemuscles,whenevernecessary,throughouttheentire

processoftrainingthevoice.

ProperUseofTongueI

nstrument

Teachersmustbediscriminating,correct,andcarefulin theuse

ofthistongueinstrument.R

emember,itisonlya toola toolfor

helpingthetongueactionanddevelopingthetonguemuscles which

shouldbeusedin phonation.I

    

tisneithera magicpatentmethod,

norapanaceaforall vocalills.I

                                                                                                                                                                                                                                                                                                                                                         

fusedincorrectlyit doesmore

harmth angood . T h e t e ah c e r m utsb e s

i l l e d i n istu s e o r t h e r eu slts

areharmful.

W h i l e t h e t o n ge ui s b e i n g p uh sedbac

, i t m u s t b e r eal

istensd e,itisimps os i bel f o r t h e t e c a h e r t o p uh sitbac

ed.I

fit

byforce

ifheendeavorstodo so,heonlysucceedsin hurtingthepupiland

inforcinghimto produceaverythroatytone.I

thetonguedownthepupil

ness.I

ftheteacherpushes

sthroat,hemerelyengendersthroati-

nusingthisinstrument,it isbesttoput thelefthandabove

thepupil

schin,holdthe handleoftheinstrumentfirmlyin the

righthand,andletthe rodrestin thearchbetweenthethumband

thefirstfingerof thelefthandinsomewhatthesame mannerasa


b i l l i rad c u e i s u s d e.(

eeF

i g s . 79- . ) T h i s ih ni b i t s prep e n d i c u l ra

movementoftheinstrumentandpermitstheteacherto pressthe

tonguebac

inastraight(horizontal)linemoreefficiently.

Thereadermustnotimaginethatthere is.somesecret,magic

methodinvolvedinthis.H

owever,itisdangerousforanyoneto

attempttousethistongueinstrumentwithoutcareful direction.

tsproperuseshouldbe taughtcarefully.F

g u i d e t o istp r o p reu s a g e i s t h e taec h e r

urthermore,theultimate

searwhichmu stbeable

tohearwhetherthetoneis improvedtechnicallyandinq

uality

whenheusesit.This meansthattheteachermustnot onlyk

now

agoodtonefroma badtone,butalsothat hemustbeableto detect

relativelyslightvariationsofq

deliberately,atathroatyq

uality.Manyteachers,alas

aim,

uality.Theincorrectuseofthis instru-

mentcould,unfortunately,helpsuchteacherstowardstheirfalse

goal.

85



  

       

h a p tre3

D

V E L O PM

NT O F TH E L A R Y N G A

L M U

C L

egistration

(ControlofI

n t e nist y )

Thevocalapparatusconsistsofthreeparts:

 

1.Theactuator

2.Thevibrator

3.Theresonator

llotherph asesoftc eh n i c r s et u p o n t h eproperw or

ingoutofth e

    

problemsofregistration.

Theterm"

register

Mostpeopletal

has,inthepast,beenused withvariousmeanings.

fthreeregisters o upper,middleandlower,meaning

high,middleandlowpitchranges.

Theentireq

uestionofregistrationrestswiththe properco-ordination

   

ofthemuscleswhichstretchthe vocalcords.

Therearetwogroupsofmuscles whichstretchthevocalcordsand

holdthemintensionagainstthe pressureofthebreath:

a.Thethyroidmuscles(crico-thyroidandthyro-arytenoidmuscles)

b.Thearytenoidmuscles(posteriorandlateralcrico-arytenoid

muscles)

Theq

uestionofregistrationpertainstothe co-ordinationofthesetwo

groupsofmuscles.


i n c e t h ree a r e t w,oa n d o n l y t w o,grou p s o f m u s lce s i n t h e l ayr n

thereareonlytworegisters.A

,

swillheshownlater, theregistrationaction

pertainstothecontrolof intensitynotto pitchranges.

When, forasofttonewhich isbeingswelled,thetensionon thevocal

cordsisbeingheld againstthebreathpressurebymeansof addedtension

onthesmallermuscles thearytenoidsthefalsettoregisteris inaction.

When, atacertaindegreeof intensity,addedtensioncomesintothe

heaviergroupofmusclesthe thyroidsthelowerregisterhas come

intoaction.

Letusfirst considerhowtheregisterswor

With aperfectvoicethead

nderidealconditions: u

ustmentandco-ordinationofthemuscula-

tureusedinphonationis virtuallyrefle

,andthesinger hasaperfectly

clear,clean-cutmentalconceptofall thecharacteristicsofthetonehe is

abouttoproduce,i.e.,aconceptof pitch,q

uality,intensityandvibrato.

saresultof thisconcept,nerveimpulsestravelalongdiversenerve

fibersandbringintotension themuscleswhichshouldbein actioninthe

8

                                                                                                                                                                                                                                                                                                                            

correctbalance,i.e.,correctco-ordinatione

ists.F

                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                          

orthisreason,the

teachermust,fromtheverybeginning,buildup theconceptthatprona-

tionisa single,unitco-ordination.

orthegivenpitch,q

ualityandintensitythereshouldbea certain

definitebalancebetweentheactionofthetwo groupsofmuscleswhich

actuatethevocalcords.Thearytenoidactionpredominatesforthe high

pitchesandforthelow intensities.

t i s f o u n d i n p rcat i c e t htae v e r y vioc e  m a l e o r f m e alehastw o

definiteregisters.Thereisnofunctionaldifferencebetweenmaleand

femalevoices.

1 . F a l s etto

n i t s p u r e f rom t h e f a lest t o i s v eyr l i g h t i n t h e m i d d l e fot h e r a n g e

andincreasesrapidlyinpoweras thescaleisascended.This registerhas

defin i t e l i mtia t i n osofpow e r a n d w il le i t h e r c rca

beyondacertainpointofintensity.W

moreorlesspleasingq

2 . L o w reR

or"

mi

"

ifpushd e

henthefalsettoispure itisof

uality.

e g i set r

Thelowerregisterischaracterizedby afargreaterintensityat any

givenpitchthanis thefalsetto.Theq

ualityofthisregisterwhen unco-

ordinatediscrude.Theintensitycan beincreasedtothema

nessforthegivenvocal organswithoutthevoicecrac

nsomevoices,wheremi

imumloud-

ing.

edregistrationoccurs,thesetworegisters


mustfirstbeisolatedso thattheymaybeproperlydevelopedandulti-

matelyco-ordinatedintheproperbalance.Theimportantpointto note

isthatbothregistersare presentineveryhumanvoice.

When bothregistersarefullydevelopedandproperlyresonated,they

co-ordinateoftheirownaccord,providedthatthe properconcepts,espe-

ciallythatofthe voicemechanismasasingleunit,havebeen engendered

inthepupil

smind.Theteachermustnot worryaboutco-ordinatingthe

registers.H isproblemisoneof purifying,developing,balancingand

resonatingthemproperly,andengenderingtheproperconcepts.W hen

thishasbeendoneco-ordinationis automatic.Theattemptmustnever

bemadetoco-ordinatetheregistersat tooearlyastage.

Thefollowingdiagramsindicatetheprobablemannerinwhichthe

registers(laryngealmuscles)co-ordinate(

igs.14-17):

igure14representstheprobablemannerin whichthelaryngeal

musclesco-ordinatewhentheregistrationiscorrect.

Themagnitudesofmusculartensionarenaturallya matterofj

udg-

ment,becausetherearenoavailablemeansforactually measuringthem.

Therefore,ascaleshowingachangein musculartension,whichwould

correspondtoapitchrange ofthreeandahalf tofouroctavesifall of

thetensionwereemployedforraisingpitch only,hasbeenchosen.-

tisnot unreasonabletoassumethisrange,becausesomeofthetension

isundoubtedlyusedforbracingthe vocalcords,whilesomeisused for

theincreaseinintensity.Thesediagramsprobablyshow,ina roughway,

whatishappeningq

uantitatively,andalmostcertainlyshowthecorrect

ualitativepicture.

ThetwocurvesinA

(

igure14)indicatethemannerin whichthe

tensionon,first,thearytenoidgroupof musclesandthenonthethyroid

groupincreases,orisco-ordinated,fora low-pitchtone,astheintensity

rises.

87



  

       

                                                                                             



Noticethatatthepianissimo,i.e.,the lowestpossibleintensityunder

propertechnicalconditions,thetensiononthe lowerregistergroupof

musclesisconsiderablyhigherthanthaton thefalsettogroup.A

sthe

intensityrisesthetensiononthe arytenoidmusclesincreasesuptoa

certainpoint(stilla verysofttone)whilethetensionon thethyroid

musclesremainspracticallyconstant.A

bovethispointofintensitythe

tensiononthethyroidmusclesincreasesregularly,whilethat onthe

arytenoidsremainsconstantuptothepoint ofma

R R

                            

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

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o-ordination

igure14)showsthesamephenomenonfora middletone.Notice

  

here,however,thattheinitialintensity,i.e.,theintensityat thepianissimo,

isconsiderablygreaterthanthatof thelowtone.Noticealsothat the

initialtensiononthethyroid musclesisgreater,andthaton thearytenoid

musclesfargreater,thanitwas forthelowtone.A



sbefore,therising

muscles,butinthiscase, thethyroidmusclesdonotstart ta

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ingonadded

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

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 

eonadditionaltension

                                                                                                                                                                            

imumintensityhasbeenreached.



igure14)illustratesthismuscular co-ordinationforahightone.

Noticethatatthepianissimo,whichis considerablylouderthanthat

indicatedoneitherofthe othercurves,thetensiononthe arytenoid

88



           

.)isreached.Noticealsothat,

constant,while,asbefore,thethyroidmusclesta



           

intensityisfirstprovidedfor byanincreasingtensiononthe arytenoid





musclesisfargreaterthan thatonthethyroids.Noticealso thatthe

arytenoidmusclescontinuetota

eontensionwhilethe tensiononthe

thyroidsremainsconstantuntilaveryhigh pointofintensityhasbeen

reached.

A

(



igure14 ) r e p r eesn t s a l o w t n o e , b u t ntot h e b o t t m o oftheran ge

atwhichthelowerregisteraction wouldpredominateinafarhigher

degree.I

nthisA

diagramthelowerregisteractionpredominatesover

theentirerangeofintensitye

ceptatthevery lowestend.

Lowerregisterorfalsettoactionmeansthe rateofchangeintension

onthegroupofmuscles whichcharacterizestheregister,andnotthe

actualtensiononthemuscles.Thusthe registeractioninoneor the

otherregisterisindicatedby theslope,notheightofthe curve.

NoticethatinB (



igure14)theaction ofthetworegisters,asalready

defined,isevenlybalanced,inasmuchasthefalsettoactionpredominates

uptoM.

.forthisparticular pitch,whilethelowerregisterpredominates

abovethisintensity.Letit beveryclearthat,whilethe tensiononthe

arytenoidsisincreasing,thesingeris usingthefalsetto.A

tthemoment

whenthetensiononthethyroid musclesstartstoincrease,heis using

thelowerregister.

C

(

igure14 ) i n d i c tae s a h i g h t n o e , b u t n tot h e e

trem etopofthe

range,atwhichthefalsettoactionwould predominateuptopractically

thema

i m u m p ion t o f i n tn es i t y frot h i s p i t c h .I

n t h e d i a gar m i n dci a t e d ,


thefalsettoactionpredominatesuptoa veryhighpointofintensity.Thus,

fortheveryhightones,the falsettoonlyisused,unlessthe intensityis

absolutelyfortissimo.

tveryhighpitchesthe falsettomusclescanholdthetensionof the

vocalcordsagainstthepressureof thebreathupto nearlythema

imum

possibleintensity,althoughthelowerregistermusclesarealways"

behind

thefalsetto.A

tthelowpitchesthe falsettoonlygoesaverylittle way,

andactually,forsuchpitches,this registerissucha lightwhisperasto

bepracticallytoneless.I

e

nthemiddleofthe rangethebalanceisabout

u a l f o r n rom a l i n t e n stii e s .

nF

i g . 1 5 t h e por p e r b laa n c e o f te hr e g i set r s , o e v r t h e e n trie r a n g e

ofthevoice,isindicated indiagrammaticform.

nsingingupthe scalefromthelowestpitch,the falsettoregisteris

addedq

uiterapidlyatfirst andslowsdowninthemiddle pitchregion,

s o t h a t , i nht i s m i d d leregin o , t h eer i s a p p r o

tionoftheregisters.A

i m a tley a n e

u a l c o -rod i n -a

bovethemiddleregionthefalsettoaction increases

rapidlyuptothe highesttoneoftherangewhich ispurefalsetto.

Thesecurves,andthetwocurveson mi

&

edregistration(

igs.1

17),arefurnishedtovisualizethe actionoftheregisters,when

properlyandwhenimproperlyco-ordinated.Theyareq

ualitativeonly

andarederivedfromobservationsmadeduringtheprocess ofisolating

alsobasedonaconsiderationof thephysiologicalprinciplesinvolved.

nF

ig.15thein t e n stiy i n d i a ctedisthen o r m lai n t e nist y f o r t h e gvi e n

s e e n t htat h e n o r m alinten s i t y f roA

(

5 o n t h e h o rzi o n t las c a l e , w h e r esaf o r B (

forC (

i g . 1 4 ) i t i s a t a bu ot 2 5 0 . E q

s c a l e c ror e s p ondapp ro

89

i m a t ley t o e

ig.14itwillbe

i g . 1 4 ) o c u r s a t t h e pion t m a r

ed

ig.14)itisatab out25,an d

u a l d i sat n c e s aol n g t h i s hroi z o n tal

u a l d i fef r e n e csinloud ness.







andco-ordinatingtheregistersofa largenumberofpupils.Theyare

pitch.h Tisintn e s i t y icnr e ae s s a s t h e p i th crises.I nF

                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                          

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 

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       

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                                                                         

When thevoiceisused properly,itsnormal(ornatural)intensity

increasesasthepitchrises, inabouttheproportionindicatedin

Thisiswhythe loudnessofnormalintensity(orM.

pitch.Theintensities(mar

ig.14.

.)varieswiththe

edaccordingtothemusical notation)in

ig.14indicatetheactual intensityrangeofthevoiceover itscomplete

pitchrange.

100

75

o

      

50

z

LU

o

25

F A L

E T T

L O W E R

R

E

G

S

T


    

   

R

O C T A V E S

ig.I



Diagram maticRepresn e t a toi n o f t h e P r p o e r C o - o r d i n tai o n

o f t h e R e g i s t e r s a s a F u n c t i o n o f P icth

Thisfigureillustratestheregistrationactionat normalintensityforeach

tone(shownalongthehorizontala

is)overtherange ofawell-producedvoice



(threeoctaves).

Theperpendiculara

isshowsthepercentageofeach registeremployedat

t h e p i th cesshow n o n t h e h o rzi o n tlaa

i s . N oet t h a t , a t t h ee

therange,purelowerregisteris employed,whileatthee

tremeb o t t o m fo

              

tremetopwefind

purefalsetto.

When thetechniciscorrect, bothgroupsofmusclesarefully developed

                                                                          

andproperlyco-ordinated.

Theactualcontrolofintensity,whenthe techniciscorrect,is accom-

plisheddirectlybymeansofthe mechanismofthevibrato.I

talsodepends

upontheproperco-ordinationofthelaryngealmuscles,and uponthe

degreeoftensiononthearytenoidmuscle.The functionofthismuscle

istobring togetherthearytenoidcartilagesandthusappro

vocalcords.A

heldine

imatethe

tnormal,orlouderthannormal,intensitythe cordsare

trem e l y c l oe sappro

i m a toi n . A s t h e i n tn es i t y dor p s b e lw o the

normalforagivenvoice,the arytenoidmuscletendstorela

,andthe

                                                                                                                                                                 

vocalcordsgraduallyseparateuntil,atthe lowestpossibleintensity(this

intensityvariesaccordingtothenaturalpowerof anygivenvoice)they

aresofarseparatedthat theairrushesoutand thetonebecomesnearly

apurewhisper.F

90



ortheabsolutewhisperthecords aresowidelyseparated



  

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                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                   

thatphonationceasesaltogether.Thecharacteristicoftheabsolute

whisperisthat,whilethevowelsand consonantscanbedefinitelydis-

tinguished,novariationofthefundamentalorpitch ispossible,because

thevocalcordsarenot invibration.

We willnowconsiderwhatoccurswhenthe perfectly-producedvoice

attac

satone.Foratoneofdefin itepitch ,q

u a l iyt a n d i n t n esityth ere

isacertainoptimumco-ordinationofthe laryngealmuscles.Letuscon-

sideramiddletonewhich isattac

edsofdy:Bothsetsofmuscles come

intoactioninthe correctbalanceandstretchthe vocalcordstothe

properlengthandtensionforthe tone.A

action.S

tthisintensitythe falsettoisin

upposethatthetoneis thenswelled

thetensiononthearytenoid

musclesincreases,untilapointof intensityisreachedatwhich theywould

begintostrain,oroverload,underthe tensionnecessaryfortheholding

ofthetensionofthe cordsagainsttheincreasingpressureof thebreath

on

v i b r tao i m p u l s e . A t a b o u t t h i s p o itnt h e t e n soi n o n t h e t hryo i d

musclesstartstoincreasewhilethe tensiononthearytenoidsremains

appro

imatelyconstantforallfurtherincreasein intensity.When the

pitchishigher,the falsettoactiongoesfurther,andwhenthepitch is

lowerthisactiondoesnot gosofar.Note:Thefalsettodoes notgoout

ofactionwhenthelowerregister co-ordinateswithit.

Perfectco-ordinationoftheregistersoccursonly inthecaseof a

reallygreatvoice.Thereisno singeroftodaywhoseregistrationisper-


fect.I nthepastw e h a v e h a d scuh e

ir

byLu nnan dS

a m pel s a s C a r u s o , E m m y D etsi n n ,

am m a cr o .

neoftheprincipalfactors invocaltraininglies intheendeavorto

appro

imatemoreandmorecloselytheconditionsof perfectregistration.

Without theproperwor

ingoutofthe problemofregistration,anyradical

orperm anentim p r o vm e entinapup il

svoiceisou t o f t h e q u e s toi n .

ememberthattheentirevocalmechanismactsas onesingleco-ordi-

natedunit.H

ad

ence,iftheregistersareperfecdyco-ordinated,theresonance

ustmentandthevibratoactionmustalso beperfect.I

registrationisfaulty,theresonancead

nversely,whenthe

ustmentandvibratomustalsosuffer.

Theproperlyusedvoiceshouldhavean effectiverangeofatleast

threeoctaves.Thelimitedrange,whichisso commonaresultoffaulty

registration,practicallyalwaysistraceabletoimpropertraining.F

registration,withtheaccompanyingincorrectresonancead

aulty

ustment,

maycurtailtherangeby anoctaveorevenmore.Theproductionof good

softtones,andaboveall,ofhigh toneswhicharefreeandvibrantis

impossiblewhentheregistrationisfaulty.Thealternativeis eitherto

shout,whichisobviouslyob

(constricted)tones"

ectionable,ortoproducedeliberatelythroaty

headtones.

o f a r we hae vbeencon s i d eirn g i d elac o n d iito n s . I n p r a c tci e w e d o

notencounterperfectvoices.Letus thereforeconsiderthephenomena

offaultyregistration.

itherthearytenoids,thethyroidsorboth groupsoflaryngealmuscles

maylac

d e v leo p mn et .

Thereisabsolutelynodifferenceinfunction betweenthemaleand

femalevocalorgans,despitethefactthatwe oftenfindwomenusingthe

falsettoalone,ormi

edfalsetto,forspeechaswell asforsinging,while

normalmenalwaysuseeitherthelowerregister ormi

a n d t h e mn a

91

s f a l s etto i s u s u lal y u n dvee l o p ed.I

edlowerregister

tseemsob viou sthat







    

    

                                                                                                                                                                               

theproblemofthevocalteacher shouldcenterlargelyaroundtheunde-

velopedregister.Unfortunately,thisisafactwhichmanyvocal teachers

oftodayfailtorecognize.Theyare wonttotrain,orendeavorto train,

thelowerregisteronlyoftheir male,andthefalsettoonlyoftheir female

pupils.

Theuntrainedlowerregisterofa womanstarts,orisfirst discovered,as

acrude,loud,ratherunpleasantsoundsuch asisusedby

Theuntrainedfalsettoofamanis

coonshouters.

firstdiscoveredasalight,silly and

moreorlesseffeminatesound.Proper,balanceddevelopmentofthe

laryngealmusclesandcorrectresonancead

ustmentcompletelytrans-

formtheseunpleasantsounds,withtheresultthat theregistersultimately

co-ordinate.Themalefalsettoshouldneverbeusedin performance.

Practicallyallbeginnersarefoundto sufferfromalac

ofdevelopme nt

ofthelaryngealmuscles,andasa resultofthiscondition,faultyco-ordina-

tionofthesemusclesoccurs.Let usconsidersomeofthe casesoffaulty

co-ordinationfoundinactualpractice:

1.Thelowerregisteronlymayhe used.

c t u al ly t h e r e i s awl a sys o m e - m i

(Mi

e d r e g itsr a toi n w i l l b e e

rangeise

t r e m ley l i m iet d a n d t h e u pperton e s a r e a lot g e te hr l a c

w o mn au s i n g t hsit e c h nci i s g e n e r lal y t e r m eda"

malevoicetheq

        

tureofrg e i s t rtai o n i n t hsic a s e .

                                                                        

plain e d l a t e.r) U n dret h e s e c o n ditin osthe

c o o n s hu ot e r .

ing.A

Withthe

ualityisalwaysthroatyandthehighest toneswhichhe


canreach(actuallymiddletones)are e

tremelythroatyandstrained.

2.Thefalsettoonlymaybe used.

e r e a g ian m i

e d r e g itsr a toi n i s b o u n dtooccurtosom edegre,be-

causeth e l o w e r tn oe s o f a w o m an

svoiceinth i s r e g i setr a r e s o w e a

                                                                                                                                                                                       

as

tobepracticallyuseless,and,howevereffeminateamanmaybe, heis

hardlyli

elytoattempttosing allthetimein thepurefalsettoregister.

eryligh t c o l o r tau r a s p orans om a y u s e t h isad

l e s s p uer f o r m . h Tebestknowne

u s t mn et i n i t s m o r e ro

a m pel o f t h i s t e h cnicistherd aio

coloratura,whosevoiceispracticallyinaudibleuntilshe reachesahigh

tone.

Therangeofsucha singer

svoiceis notnearlyaslimitedasi sthat

oftheonewhocomesunder headingnumberone,wherelittlemorethan

anoctaveandahalf canbecovered.V

eryhightonesindeedcan sometimes

beproducedwiththepurefalsetto ad

ustmentalone.S uchtonesare,

howv e e r , mree s

uea

s,andofnora e l v a l u e rat i s tci a l l .yF

u r t h rem o r,e

theytendtodisappearaftera fewyears,unlessthelowerregisteris

developedandtheyarerelatedto,andbalancedwith,i t.

3.Bothregistersmaybeused unco-ordinatedandwithabrea

betwee n

them.

Thisisfarbetter thantheconditionsoutlinedunderheadings1 and2,

p r o vdi e d t h tas h e e m pol y s i t u p t o a t l e s at m i d d leA

orB

,becau sethe



                                                                                                                   

merefactthatawomanis actuallyusingherlowerregister,indicates

thatrelativelypureregistrationhasbeenestablished.

t m a y b e a s w lel t o m e n toi n h e r e t h atthepup i l w h o s t rat s w i t h a

definitebrea

betweentheregistersisfareasier totrainthanonewho

usesoneregisteronlyor,worse still,mi

edregistration.Thefirstprocess

intrainingavoice istofindand isolatebothregisters,andbeforethisis

92



 

                                                                                                                                                                                                                                                    

donenovocaldevelopmentispossible.Thus,thepupil whostartswith

twodefinite,uncoordinatedregistersisinthe samecondition,orstage

ofdevelopment,astheonewhostartedwithone registerandhasfound

a n d d ee v l o pd et h e o t h re

o r t h e o n e wo h, h a vni g s t a ret d w i t h m i e d

registration,hassucceededinseparatingthevoiceinto twopartsand

establishingrelativelypureregistration.Thepupilwithadefinite brea

startsinafairly advancedstageoftechnicaldevelopment.

Themanwhousesthepure falsettoforhissofttones willindeedbe

ma

ingillegitimate,foolishandeffeminatesounds,butheis notstraining

hisvoiceinanythingli

high,softtoneswithane

andmi

ethesamedegreeasthe onewhoproduceshis

tremeconstrictionofthelaryngealpharyn



edfalsettoregistration.Neitherveryhighnorsoft tonesshould

everbesungbya man,inperformance,beforepureregistrationand

pharyngealresonancead

Mi

ustmenthavebeenestablished.

e d r e g itsr a toi n i s t h e w osrt o f a l l f a u l t s i n s i n gni g o r s p e a

Theindividualwhousesapronouncedformof mi

desig nateds ao n e w i t h " n o n a t u r a l v ioc e .

r e g itsr a t in o: M i

brea

e d f a le sttoandm i

a.M i

10

F

e d F a sl et to (

e e F i g. 1

edregistration:

.)


=F

L=

ed

n e i t h rec a s e t h e

tremelyunpleasantq ualitywhichresultsfromthis technic.

Thisiswhathappensin thecaseofmi

20

T h e r e rae t w o f om r sofmi

e d l o wrer e g i s tre. I

i n t h e v oci e m a y b e a b sentandquiteawideran gemaybecv oerd e,

despitethee

50

ing.

edregistrationis

   

aM l tt o

L o w reR



e g i set r

2S 1020

S O U ND R P E S S

50

100

ig.1

UR E

I NT

N

I T

Diagram maticRepresn e t a toi n o f M i

 A R B

edF

TR A R Y

UN

T

.



a l s etto

egistration

93

 

     



   

 

  





      







    

When thetoneisattac

edthebalanceor co-ordinationbetweenthe

arytenoidandthyroidmusclesisincorrect,both arytenoidandcrico-

thyroidgroupsofmusclesareundeveloped.Thearytenoidmusclesare

lessundevelopedthanthecrico-thyroidmuscles.W hentheintensityis

increasedtheaddedtensionista

enupbyboth setsofmusclestogether,

sothatthecorrect co-ordinationneverprevails.

igure1

i n d i ctae s , i n d ig ar a m m a t i c f om r ,mi

e d f a le s t t o r eigs t r aito n

foramiddletone.

Noticethat,attheattac

(pianissimo),thetensiononthearytenoid

musclesisfarhigherthan thatindicatedinF

ig.14fora toneofsimilar

pitch.Noticealsothat,as theintensityincreases,thetensionisadded

tobothsetsof muscles(thethyroidsandarytenoids)uniformlyand

s i m utla n eu os l y . F o r t h i s r e a sn ot h e m i

e d f a le s t t o c h raa c t rei s t i c roq

u a l iyt

ismaintainedthroughouttheentireintensityrange.

Thatthisistrue isindicatedbythefact that,inactualpractice,anyone

employingthistypeoftechnicretainsthe e

mi

tremelythroaty,unpleasant,

e d f a l stet o q u a l iyt a t a l l i n t n e s i t ise.

Theq

ualityofawoman

nthecaseofamn a

svoiceusingthis technicisthinand shrill.

svoiceitise

trem elythra o t y a n d ef fe m ia nt e . N o

partofthevoicehas anyrealpower.Thevibratoisabsentand, inmany

cases,apronouncedtremolooccurs.

igure17illustrates,indiagrammaticform,mi

edlowerregistration


foramiddletone.

fhightonescan bereachedatall,and thismaybepossible,they

arethinandthroaty.

b.Mi

e d L o wreR

e g i srta t i n o(

attac

henthesinger

s t h e t o n ,et h e b a l n aceoften s i o n i s t o t h e tyhr o i d ed n. A s t h e

intensityisincreased,bothsetsof musclesta

andsimultaneouslyasinthecase ofthemi

eupthetensionuniformly

edfalsetto.

Noticethat,inthisc ase,thetensiononthethyroidmuscles,at the

attac

(pianissimo),isfarhigher,andthaton thearytenoidsisfarlower

thanind icatd einF

i g . 1 4 . N toi c e a lo sthat,asw ithF ig.1

tensionfortheincreasein intensityista

, t h e a d dd e

enupbybothgroups ofmuscles

uniformlyandsimultaneously.

Theq

ualityproducedbythistypeof technicisaptto beevenmore

unpleasantthanthatresultingfrommi

edfalsetto.Thepower,however,

isconsiderablygreater,whiletherangeis morelimited.A

tremolooftenaccompaniesthistypeofmi

pro nounced

edregistration.

Thereadershouldbeveryclear astothedifferencebetweenco-

ordinatedregistrationandmi

edregistration.Theoneandonlypoint

o f s i m ial r i t y lei s i n t h e f a tct h a t t h eer i s n o b r e a

i n t h e v o ie c.With

co-ordinatedregistrationthebalancebetweenthetwogroupsofmuscles

whichactuatethevocalcordsis correctattheinceptionof thetoneand,

a s i t i s s w e lel d , t h e ad de d t e niso n i s t a

e n u p f i r s t b y te ha r y t n eoid

group,untilthepointis reachedatwhichtheyarefully loaded.A tthis

pointtheaddedtensionis ta

enupbythe thyroids,butthetensionon

thearytenoidsismaintained.Thus,pureregistrationpersistsdespitethe

factthatco-ordinationhasbeenattained.

nthecaseofm i

94





       

e e F i g . 1 7).

Thisistheinverse ofthecasediscussedabove.W

                                                                                                                                                                                                                                                       

e d r e g itsr a toi n t h e c oo- r d i n ationofm uscls ei s i n c o r -



                                                                                                                                                                                                                                                                                        



r e c t a t t h e sat r t , a n dtheaddd e t e n s in oi s t a

musclesuniformlyandsimultaneously.Pureregistrationisalwayslac

Theproofofthisstatementlies inthefactthat ami

i r r e se pc t i e v o f w h e te hr i t b e m i

ing.

ed-registertone,

e d f a le sttoormi

retainsitsunpleasant,characteristicq

                                                                                                                                                  

e n u p b y b oht g r o u p s o f

e d l o wrer e g i s tre,

ualityatallintensities.Thus,if

suchatoneis swelledtothegreatestpossibleintensity,thelowerregister

nevercomesintoaction,becausethecharacteristicsof thelowerregister

donotappear.I

nversely,whensuchatoneis softenedtopianissimo,the

characteristicsofthepurefalsettoare notrevealed.Thus,ami

ed-register

tonecannotbechangedintofalsettoor lowerregisterbyanymeans

otherthanbytheeliminationof thisformoftechnicand bythesepara-

tionandisolationofthe tworegistersthroughaprocessof properly

conductedvocaltraining.

L=

L o w reR

F =

a g i sat r

a l sa tot

251020

S O U ND R P E S S

UR E

I NT

N

I T

 A R B

TR A R Y

UN

T



.

50

ig.17Diag ramm a t i c R e p r e s e nat t i o n foM i

e d L o w reR

  

e g i srta t i n o

Theregulationofintensity,underproperconditionsofregistration,

isafunctionof thevibratoandlaryngealmuscles.

nmi

e d r e g itsr a toi n t h i s c otnr o l o f i net n s iyt b e c o m e s a f u n cito n o f


theconstrictormusclesofthe laryngealpharyn

andofthebreathblast.

stheintensitydiminishes,thetensionwhich isalreadyonthesecon-

strictormuscles,increases,sothatthe softeningofthetoneisactually

accomplishedbytheprogressiveconstrictionofthethroat.A

timethebreathe

t o t h e r a t e foe

95

tthesame

pulsiondiminishesthus,theintensityis proportional

p u l s in oo f t h e b r e tah . W h e n t h e t e c h n i c i s c o rer c t , t h e

  



      

   

     



                                                                                                          



 



    

b r e aht e

itsma

p u l soi n d r o p s s at h e i n t e n s i t y r ie s s f r o m PP.. t o M .

i m u m a t .PP . a n d tai t s m i n i m umatM.

ofafullfretone).(

p h e nm o enaofm i

I

NT

N

I

ig.18"

.I

                                                  

tisat

. ( t h e n om r a l l o un de s s

e e F i g s . 1 8 & 1 9 . ) F o r a f u r t h e r d i su cssin oofthe

e d r e g itsr a toi n , s e e C h a p t e r 1 1 .

T

B r e tah - i n t e n stiy

CurvesofaWell-produ cedVoice

Thisfigureshowsacurveof thebreathe

pulsionplottedagainstintensity

foramiddletonesung byawell-producedvoice.

N o t ie cthatthema imume

gressivelyuntilM.

thema

imumlu o d n ess F

P . P . ad nM .

p u l soi n i s a t p i a nsis i m o , a n d t h tai t d r o p s p r -o

.(afull,freetone) isreached,whenitstarts toriseuntil

.

.  i s r e a c h e.dN o t i c e las o t h a t t h e d r o p b ew t een

. i s f a r g r e tae r t h a n i s te hr i s e f r o m M .

.toF

.

.

nthiscasethe breathoutputisa functionofthelaryngealmusclesand

ofthevib r a t o  i . e, .t h e s i n g eris"

h o l dni g

h i s b r etah a n d i s n o t b lw o ingit

outagainstaconstriction.

Whenatoneisbeingsw e l l e d for m P . .Pt o F

.

.itstartsinth e

falsetto,whichregisterpersistsduringtheperiod ofaddedtension

onthearytenoidmuscles,andthelower-registeractioncomesinto

playwhen,thistensionhavingreachedits ma

addedtothethyroidmuscles.I

imum,tensionis

tshouldbeclear thattheproportion

ofarytenoidtothyroidtensiondependsuponthe pitchthus,the

amountoffalsettotensionriseswiththe pitch.Thehigherthepitch


theloudertheintensityat whichthelowerregistertensionshould

beadded.



Thedevelopmentofthearytenoidmusclesisessential,if apure



falsettoistobe established.Thearytenoidcartilagescanbeheld

firmlyinpositionduringphonation,onlywhenthe arytenoidmuscles

arefullydeveloped.Thismeansthattheydo not"

give

      

(move),

                                                                                                           

thatthepitchis thusheldconstantandthatthe vibrator(vocal

9

                                                                                                                                                     

 

  



     

cords)isfirmlystrung,with theresultthatthetone produced,

undersu c h c o n dtii o n,si s o f p l e aisn g q u a l iyt . I

pupiltoproducea powerfultoneofgoodq

t i s i m p o sisb l e f o r t h e

ualityunlessthelower

registerhasbeenisolated,purifiedanddevelopedfully.Thedevelop-

mentofeachofthese twogroupsofmusclesdependsuponthe

isolationandseparatedevelopmentofthetworegisters.W

suchisolationandpurification,nowor

thelaryngealmuscles.H

ence,technicalvocal improvementisim-

possibleunlesstheproblemsofregistrationare wor

ig.19"

ithout

whateve rcanbe doneon

B r e tah i n t e n sity

edoutproperly.

C u r v e o f a T h r o ayt V

Thisfigureshowsacurveof thebreathe

oice

                                                                                               

pulsionplottedagainstintensity

foramiddletonesung byabadlyproduced throatyvoice.

Noticethatthebreathoutputrises evenlywiditheintensityina straight-

linecurve.

nthiscasethe singerisblowinghis breaththroughaconstriction.The

controlofintensityisa functionofthebreathblastand ofthedegreeofcon-

strictioni.e.,tensionon themusclesofthenec

holdthebaseofthe tonguebac

p h ra y n

andonthemuscleswhich

againsttheposteriorwallofthe laryngeal

.

ThyroidManipulationDevelopmentofLowerR

egister

Muscles

tisobviu osthatifthe"pull

o n t h e t h ryo i d m ucsl e s d eet r m i n es


thelow e r r e g itse r , t hsi"

pull

c a n b e h e le pd b y p r essi n g d o w nthe

thyroidcartilage.Thismanipulationis,then,immediatelyindicated.

t i s o f i m m esne v a l u.eI

t e n a bel s t h e t e c ah e r t o " p u l l i n

register,bydirectmanipulation,whenitis wea

97

thelow er

    

 



 

andundeveloped ,

 

                                                                                                    

                                                              

 

 

       

                                         

andthusspeedupthe processofisolatinganddevelopingit toan

enormousdegree.F urthermore,thedevelopmentandisolationof

thelowerregisterautomaticallybrea

soffthefalsettoregister.

ence,thethyroidmanipulationhelpsalsotopurify anddevelop

thefalsetto.

ig.20 ThyroidManipulation

This isprobablythemostimportantofall themanipulations.I

mentspeedsuptheprocessof trainingthevoiceina verymar

tsemploy-

eddegree.

ncertaincases,it enablestheteachertotrainand developvoiceswhich

couldnothavebeendealtwith beforeitwasdiscovered.I

thasforits pur-

posethedevelopmentofthecrico-thyroidmuscles(lowerregister).Thein-

de

fingersofeachhandareplaced ontheupper,posterioredgesofthe

thyroidcartilage,whilethethumbstouch,but,in manycases,donotpress

down,thecenterpointofthis cartilage.H owever,therearecasesinwhich

themanipulationmaybemoreeffectivewhenthethyroidcartilageis pressed

downfromitsmiddlepoint.The"

pulling-in

ofthecrico-thyroidmuscles

bringsthelowerregisterinto actionandhelpsthesemusclesto

hold,

until

suchtimeastheir usewiththeaidof themanipulationhassodevelopedthem

thattheycanholdby themselves..

Thedownpressuree

ertedvariesindifferentcasesaccordingto thestateof

developmentofthelaryngealmusclesandgenio-hyoidandgenio-glossus

muscles.


v e n i n c ae s s w h eer t h e l o w rer e g i set r i s v e r y wae

,oraltog e t h rea b s e n,t

itcan,almostalways,bepulled-inin arelativelyfewlessons.Thej

udicious

useofthismanipulationservesto maintaintherelativebalanceinthestate

ofdevelopmentofthecrico-thyroidandarytenoidmuscles



i.e.,ofthetwo

registers.

  

When thehyoidbonedropsto apronounceddegree,thismanipulation

                                                                                                                                                                                                                                                                                                       

cannotbeemployeduntilthehyoidbone manipulationhasbecomeeffective.

owever,bothmanipulationscanbeperformedatthesametime.

Thethyroidmanipulationisutilizedwithpracticallyeverybeginnerand is

employedinthelaterstagesof technicaldevelopmenttoengenderfurther

open ings

o f t h e v ioc e .



  



     

I ND X

F

I NG

R

(PressDown)

TH UMB(TouchBut

DoNotPresiDown)

ig.20 ThyroidManipulation(concluded)

BThisfigure showsthepointonthe thyroidcartilageonwhichtheinde

fingershouldpresswhenthismanipulationis beingperformed.I

talsoshows

thepointinthe frontofthethyroidcartilageat whichthethumbsshould

touch.Thethumbs,however,onlytouchanddonot pressatthispoint.The

manipulationisperformedwithbothhandssymmetrically.

Thismanipulationisperfectlysimpleandstraightforward.I

tis

anobviousoutcomeofanestablishedtheoryofr egistration,and

itseffectivenessisadirect proofofthetruthof thistheory.

Theprocedureisasfollows:Theteacher merelyplacestheinde

fingerofeachhandon theupper,posterioredgesofthethyroid

c a r t ial g e a n d plul s d o w n w i t h a g e nlte , f i r m p ressu re.(

20A&

eeF ig.

B.)

When thelower-registermusclesandthetonguemusclesare

wea

, t h i s p r es u r e c n anotbee

ertedtoforcib l y , b u t i t myab e

increasedlittlebylittleuntil anabsolutelypureregisterisestab-

lishd e,or"

pulld ein.

When theestablishmentofapure,fully-developedlowerregister

99




                                                                

                                                                                                                    

  

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     

                                                    

forthegivenstageof developmentiscomplete,pressureonthe

thyroidcartilagehaslittleor noeffectuponthesoundproduced.

owever,intheearlystages,theeffectof thismanipulationsoon

becomesq

oftenb e"

uitestartling,andfull,purelower-registertonesmay

pulld ein

a n d e sat b l ih s e d i n a r e l ai tv e l y fw e lessn os.

alueofThyroidManipulation

This,andtheothermanipulations,materiallymodifyandalter

   

theentireprocessofdevelopingthevoice.They eliminatethelong

drawn-out,round-aboutpathwhichformerlyhadtobetraversed.

Thelowerregisternowcanbe definitely"

tonebytn oe.Only"

a n d s u n.gI

open e d - u,p

pulledin

                                                                                                                                                                                                                                                                                   

andestablished

f u l l t oe ns n e e d t o b e etsa b lsih e d

t i s g e n e rlal y b e s t t o sat r t a t a b u otlowD(theDon e

spacebelowthetrebleclef)and proceedupthescale,onesemitone

atatime,as farasthepupil cansingwithoutclosure.Noclosed,

t h r o tay , " w h i t e ,

thic

,shrillorra ellyug lytonesn eedbesun g.

nfact,th eyshou l d n e v reb e p r o d u e cd.I

thepupil,whohasnot beenseriouslyin

narel atie v l y f e wel s s o n s

uredbybadteaching,

shouldbeabletoestablish,under manipulation,purelower-

registertonesuptoabout middleBflat.

Theprocedureissimilarfor bothse

es,despitethefactthat the

manissingingan octavelowerthanthewoman.I

nthecaseof a

manthepurificationofthelower register,anditsdevelopment,


maybemoredifficulttoaccomplishthan itwouldbefor awoman,

becauseallhissinginghas probablybeendoneinthisregister and

allhischaracteristictechnicalfaults are,therefore,generallyasso-

ciatedwithit.H

owever,thismanipulationissoeffectivethatit has

beenps os i b l eot t a

emenwhosn a g e n t ier l y i n t h e m i

e d f a l stet o

register,andestablishadefinitelowerregisterwhich finallyenabled

themtoproducereallyfine,virile tones.O fcourse,incasesof this

sort,th e u n b aal n c e i s s o e

t r e m e ta ht t h e p r o e cssisquitelongand

arduous.

ctaveRelatin oshipB e t w e n R e g i setr s

ssoonaspure registrationisestablished,thepupilcansing a

purefalsettotonee

actlyoneoctaveabovethehighest,purelower-

registertoneshecanproduce,but sheismuscularlyunableto go

anyhigherwithoutclosure.Thisappliesonlyto women.I

nthe

caseofaman,a pure,wide-open,fully-develo ped,falsettotone,

anoctaveabovethehighestlowerregistertone thathecanproduce,

100

                                                                        





   

    

                                                                                                                                                                                  

wouldbesopowerful,anddemandsomuch strengthinthetongue

musclesandthemusclesofthe thora

impossibleforhimtosing it.F

abovehighC

,thatitwouldbe physically

orthisreasonfalsettotonesaboveF

shouldseldombeusedevenforthe lightestpossible

tenorandthenonlywhenhis technicaldevelopmentisvery

advanced.

Generallytheuseofthe falsettoshouldbelimitedtoabout

highC

andsometimestoBorB flat.Theuseofthe tongueinstru-

m e n t f roo b t a i n ingthe"dar

"

u a l i t,yw h i c h i s es e n tai l f o r t h e

attainmentofthepurefalsetto,isvery helpful.Nopupilshouldbe

allowedtosingthroaty,or"

shutoff,

falsettotones.Thislimitsthe

rangewhichcanbecoveredin theearlystagesoftraining,but the

fullrangeisultimatelyattainedwithoutthe necessityforsinging

poorquality,"shut-off

t o n e.sW i t h t h i s n e w p r o e c d u r,et h e q u a l iyt

isatall timesaspleasingaspossible,and areallyfinevoiceis

developedmuchmoreq

uic

lybecausetheround-aboutpathis

eliminated.

lle g iitm tae a n d"

Sq

uea

Theabilitytoproducehigh,"

w o mn a, o r "

s h u to- f f ,

s

mi

" T o n es

uea

"

tonesinthecaseof a

ed-rg e i s t ret o n e s i n t h ecaseofaman ,

doesnotmeanthathe orsheactuallyhasa widerange,because

suchtonesareillegitimateanddo notreallycount.


Thus,ifthewoman

a"

w h iet ,

tonesinthefalsettoan octaveabove.I

fle

   

slowerregisteriscarried upveryhigh,with

t h r o tay t e c hinc , s h e c a n i m m e d itae l y e sat b l ih s"

i b l e v oci e c a n m a

s

uea

                                                                                                                                                                                                                                                                         

nthismanneralmostany

e a s o u n d ( ron o i s e ) a t F , G , o r e v e n C a b o v e

highC and,insm o ecass e, e v n ehigherth a n t h i s . I f m e n r eo srtto

s h u to- f f ,

mi

e d - rg ei s t ret o n e s , te hy a l s o myab e a b l e t o r ecah

v e r y h ih gp i t c h s e. T h i s c s ae c a n b e s o e

soundli

t r e m e ta ht a b a s s m a y

ealighttenor.Despite thefactthattheseare notlegitimate

tonesandcannotbeconsideredas singing,somesingerswhoare

abletoproducethembecomee

tremelyconceited.Theymaybe-

lievetheyaregreatsingersbecausethey cangoveryhigh.The

teacherthenhastheproblemnot onlyofeliminatingtheseworthless

sound s,butofta

ingthecon c e i t o u t fot h e p u p i l ad nm a

o r h e r , r elai z e t h tas u c h s

uea

inghim ,

i n g i s n o t r elas i n g i n g.

nviewofth efactthatm o s t r a doi s i n g i n g i s p e r f rom e d wtih j

suchatechnic,thereare manyindividualswhothin

ust

theyaregreat

singers,despitethefactthatthey haveneverproducedasingle

legitimatetone.O fcourse,thesamethingalso appliestosingers

w h o p efro r m f rot h e "

101

tal

ies.







   

    

BalancingofR

                                                                                     

egisters

thasbeensh ownhw o t h e l o wrer e g i s trec a n b e "

manipulation,andfree,fulltonesproducedatq

pulld ein

by

uiteanearlystage.

nlysuchtones,andno others,shouldeverbeproduced.Thepupil

shouldneverbepermittedtosing afalsettotonehigherthanone

octaveabovethehighest"

open

lower-registertoneshecanproduce.

urthermore,theregistersmustbebalanced.W henthisbalanceis

a t t ani e d , t h eymustbekeptbalan cedinallsub se

open ing.

andisharm ful.Each"

m a n iefs t i t s lef e

uentstg aesof

c e s svi e u s e o f e iht e r r e g isterun balan c e s t h e s syt e m

open ,

f r e e ,af l s etto t o n e s h ouldim m e d itae l y

actlyon e o c t ae vabovea ech"

open ,

l o w re- r e g ister

tone.

fthebalanceis tothelowerregister,thisregister mustnotbe

carriedupuntilsuch timeasthecorresponding(octaveabove

open

)falsettotonehasbeenc ompletelyestablished.Thispro-

c e d uer d e v eol p s a g o o d q u a l i t y v ioc e a t t h e o uste t . Tur e , i t t a

es

sometimebeforethepupilcan produceveryhightones,butthis is

uiteasecondaryconsiderationinthel ongrun.

102




 



    

h a p tre4

D

V E L O P N GTH E V

O I

C E ( MA N

PULA T

O N

)

neoftheprincipalgoals ofthevocalstudentis theattainment

ofanevenscale,in orderthathemaybe abletointerpretwithreal

artistryandmusicianship.

venlyRisingScaleofI

n t e nist y



Thisimpliesascalein whichtheintensityrisesevenlywiththe

pitch(about15decibelsrise totheoctave).W

henbothregisters

   

arefullydeveloped,andproperlybalanced,thesingercan use

t h e f a le sttoatfu l l v o i c e frot h e t o n e E f l a t  o n t h e t p ospaceofth e

trebleclef.I

free,full,"

atthisE

isj



fhe,orshe,starts singinginthelowerregisterwith a

wide-open

flat.Thus,thisE

technic,theregistrationchangesnaturally

  

flatinthefalsetto,whenfullydeveloped,

u s t a l i t t l e lu od e r t hn at h e p r o prel y p r o d u c e d D  a s e m iot n e

below inthelowerreg i s t e.rT h i s i s t h e s m a e f o r b oht s e

e s , i r r -e

spectiveoftheoctavedifferencebetweenthemaleandfemale

voices.

ence,thelowesttonesungfalsettoat fullvoicebythemale

voiceisactuallyE

flatabovehighC

and,becausethisnoteisnever

foundinthevocalliterature,he neveractuallysingsfalsettoatfull

voice.A

tlowerintensity,theregisterchangeis somewhatlower,

andviceversa.


ore

a m p l,ei n t h e s o par n o a r i a R i t o r n a V i n c i t o r ( for m V e r d i

i d a ) t h eifr s t p h rsae , w hci h g o e s t o F o n t h e t o p lni e o f t h e t r b ele

clef,shouldallbesung lowerregister,becausethisisan intensely

dramaticphrase.O ntheotherhand,the

atthe49thm easu r e o f t h i s a rai (

uietphrasewhichstarts

e T a m rom i o

) a n d g o e s for m A

naturaltoDon thetrebleclefshouldall besungfalsetto.A

falsettodescendsbelowE

sthe

flat,theintensitydropsrapidly,although

thereisareasonableamountof toneatBonthe thirdlineofthe

trebleclef.I

tisapparent,then,thatthese lower,falsettotonesmust

befullydevelopedandabsolutelypure.

When anundevelopedvoiceisbeingwor

103

edout,theattainment

s

                                                                                                                                                                                  

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 

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    

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oftheproperbalancebetweenthetwor egistersisnotverydifficult

toaccom plish .The"

p u l lni g i n

ofthelow e r r e g itse r a l l w o sthe

developmentofapure,full,falsettotoneoneoctaveabove.The

tongueinstrumentisofgreatvaluein establishingsuch"

pharyngeallyresonated,falsettotones.Witheach"

open,

opening

ofthe

lowerregister,thecorrespondingfalsettotonean octaveabove

m u s t a losb e "

open edup.

T h e r feo r ,ew e c a n d e e vl o p t heo vicein

stages,maintainingatalltimesthebalance,or e

uilibrium,between

thetworegisters.Theteachermustbe carefultowor

balancewithabsoluteprecision,ore

Thevoicewillthen"

carryup

outthis

uilibriumwillbedestroyed.

onesemitoneatatime,as

opening

isattained,butatcertain periodsofthedevelopment,sudden

open ings

m a y o cu cr.

Openin g

n"

open ing

i s t h e r e slut o f a m u s c u l a r d e vleo p mn et w h i c h

occursbecauseofareleaseof muscularinterferenceaswellasbeing

themereoutcomeofthemusculardevelopmentitself.Thus,an

open ing

o f t h e t hor a t m a y c o c u r i n o r dret o m a t c h a l ayr n g ela

                                                                                                                        

development,i.e.,apurificationoftheregistrationaction,which

ma

e s i t p o sisb l e f o r t h esingertoc a t u aet a l a r g e r , b e t t e-r

tund e,

pharyngeal,resonancecavity.Theactualopeningofthethroat

occursbecauseofadevelopmentofthe tonguemusclesandthis


developmentisaccompaniedbyarelease,orrela

ofthenec

open ing

i t s efli s , o f c o usre , a w i dreo p e n i n gofthethra o t , i . .e,

laryn gealph aryn

asuddn e"

ation,oftension

m u s cel s a n d a r e d u c t i o n o f j a w i n t e r f e rn ec e . T h eactual

.I

fthis"

o p e nni g .

opening

open ing

i s a t t ani e d s u de dn l y , w ehave

f i t o c c u r s i n s lw o stags e, w e h a e vtheslow

process,whichismostoftenfoundwith unharmed,but

undeveloped,voices.

udd en"O

pen ing s

Whenthereles ae o f t h e n e c

andj

a w m u s lce s a n d t h e d e v eol p -

mentofthetonguemusclesoccur suddenly,thelaryngealmuscles

maynotbeb a l e t o m e tet h e "

open ing,

becau s e t h e a r tye n iod m u s cel

isnotstrongenoughto holdtheclosureof theglottiscompletely,

withoutthehelpofthe nec

t h e b r etah e

m uscles.Underthesecircumstances

p u l soi n m a y b c e o m e vrey h i g h . I t i s v i t a l t htat h e

pupilma enoattem pttochec

whensucha.sudden"

opening

thee

c e s s ievb r e aht e

p u l soi n

occurs,becauseatthisstage,the

onlymeanswhichhecanuse tobringaboutthis reductioninthe

104

                                                                                   

 



    

e

p u l soi n o f t h e b raet h i s b y t h e r -ee s t b alish mentofth enec

a w c o nrto l , b y t h e e l i m ia nt i o n o f te h"

open ing

and

a n d b y g oni g b a c

againtowherehestartedfrom.Thus,during thecourseofdevelop-

m e n,tt h e b r e tah e

p u l soi n i s a p t t o i n rce a s e w henan" open ing

occurs,anddecrease,whilethe"

opening

isbeingestablished,

throughthedevelopmentofthelaryngealmuscles.

Notewell,inthisconnection,that itisveryharmfulfor asinger,

whosetechnicisthroaty,toattemptto holdtonesfora longtime,

becau sehecandosoon lybybrin g i n g t h e nce

,j

awandan tagn oistic

tonguemusclesintotension,andthisproceduremerelytends to

increasethethroatinessofhisvoice.

A

suddn e"

o p e nni g

i s g e n ear l l y a c o cmpn a i e d b y a p toe n tai l

purificationofthefalsetto,despitethefact thatthebreathe

pulsion,

forthispurerand betterfalsetto,maybehighand,at times,e

t r e mley h i g h . I f t h e p u pl ia t t e m ptstochec

sion,themi

-

thishig hbreathe

pul-

tureofregistrationwillbe re-establishedandthe

improvementlost.Thisdoesnotmeanthathe shouldintentionally

blowou t,ore

p e l , hsib r e a t h o n a f roc e d e

p i r a toi n d u r ig np h o n -a

tion.

Thebreathe

pulsionmaybesohigh thatthefalsettomayappar-

entlydisappearforashortspace oftime,butbeforeverylong a

farbetter,purerfalsettowillmanifestitself.

A


purifiedfalsettomayoftenbeconsiderablysofterthanthe

mi

edfalsetto,whichishelpedby theconstrictormusclesandcan,

therefore,bepushedtoafar higherintensitythanthepurer,breathy

f a l s tet o w hci h a p p a ersincon

u n c t in ow i t h a n " o p e n i n g .

notherpointinthis connectionisofvitalimportance:The

m u s cel s o f t h e j

awandnec

a r e l a re ga n d p o wref u l . Te hl a r y ne ga l

musclesarerelativelysmall.Theycannotfunctionproperlyand,

atthesam e t i m e , fgi h t t h s ee p o w ref u l j

awandnc e

m u s lce s . F o r

thisreasonlaryngealdevelopmentisimpossibleifthetension on

t h e m ucs l e s o f t h e nce

andj

appliestothetonguemuscles:A

awisnotred uced.h Tesameth ing

nydevelopmentofthesemuscles

i s i m p ossi b l e ulne s s s o m e r e l e ae softhenec

Openin gs

andj

a w m ucs l e s o c crus .

a n d Q u ai lt y C h a n ges

nyperm anen t"

open ing

thateachtimeit occurstheq

chang e s t h e r eo snan cead

u s t mn et , s o

ualityismodified.

Theteachermusthavetheingenuityto recognizethecorrect

u ai lt  y "

w htie r

open ing.

Whenthepupilisen e r g eitc a n d h i g h lystrun g , t h ee s

sudden"

105

openings

or"dar

er

 w h i ch s h u oldb eusd etometth e

areapttooccur. Theyarealwaysaccompanied

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    

b y a v e r y p rn oo u n e c d r i s e i n i net n s iyt . I

                                                                                 

fhecanbemad etosing

atthissuddenlyincreasedintensitylevel,theaugmentationofthe

b r e aht e

p u l soi n i s n o t d i srte s sni g . I

fhe"

h o l d s bca

,

a n d tire s t o

singattheold intensitylevel,hemayfindhimselfin trouble.H e

m u s t b e f roc e d t o g o atfe r i t a s s o n oasthe"

o p e nni g

o c c usr t h i s

isnoteasy,becauseit impliesanewandrevisedmentalpicture of

theintn e s i t y lvee l a n d e m o t i oa nl "

M e eitn g t h e " O

drive

re

uired .

penin g

f t h e p u pl i s a b l e t o m e tee a c h " o p e n ing

pronu oncd ethis"

open ing

  

a s i t o c c usr, h o wvee r

m a y b ,eh i s p r o bel m i s a s i m pel o n e .

                                                                                                                                                                                                                                                                                                                                             

Thedifficultyoccurswhenheis psychologicallyunabletocopewith

hisvocaldevelopment.

Thetemporarylossofthefalsettoregister duringasudden

open ing

m u s t n tob e c o n f u s e d w iht t h e l o s s o f t h i s r e g i set r w h e n

thevoicehasbeenforced.I

nthislattercase, thefalsettomuscleshave

beenstrainedbecauseablastof breathisforcedoutagainst acon-

striction.S

in

eriousforcingofthevoice

especiallythefalsettois most

uriou s.

nysuchls os o f t h e f asle t t o i n a s ud de n " o p e nni g

whenth e p u p i l f ial s t o m e e t te h"

open ing

occursn oly

and,w i t h t h e t ael n t e d

pupil,itneedneveroccur.

nthecaseof young,undeveloped,unharme dvoicesthesesud-


d e n " o p e nni g s

stags e. "

n e e d n too c c u r . h Teycanbe"openedup

p e n ig ns

inslow

d o o c c u,rb u t e a c h oe pn i n g i s r lea t i e vlyslig ht

andbothregisterscanbe

eptbalancedandintact.Thesudden

and,insomecases,devastatinglygreatopeningisonly necessary

whenthevoicehasbecomebadlyconstricted.S

uchaconditionis

seldomfoundwithtalentedpupilswhohavenotbeen sub

toin

ected

uriou smethd osoftrain ing.

Thesudden"

openingup

ofthevoiceshouldbe avoided,ifpos-

sible,unlessitis absolutelynecessaryinordertobrea

constriction.Thecompetentteachermustk

do wnactive

nowwhentoproceed

i n e a s y s tg ae s a n d we hn t o e n d a evorto"openup

t h e v o ie c

suddenly.

n t h i s d i su cssin oof"

o p e nni g u p

thereadershouldrealizethee

t h e v oci e a n d o f " o p e n ings,

traordinarydegreetowhichvoices

d o d e v leo p o r o p n e u p . W h e n a b i g v o i c ,ew h i c h h s ab e e n " s h u t o f f ,

eitherbybadtrainingor becauseoftimidityorinhibition,is opened

up,theincreaseinpowercan besogreatas tobealmostunbeliev-

able.A

ctuallyitis oftenthebiggestvoiceswhicharethe most

s h u t off.

10

f t h e i n d iivd u a l wo hs e v o a c l a p p aar t u s i s d s ei g n d eto









   

    

produceahighpowerlevelis inhibitedandthis oftenoccursthe

shut-offconditionmaybesogreatthat theresultingpoweroutput

isfarlowerthanthat ofaverysmallvoicewhich is,evenslightly,

open edup.

tE

l e c t rci a l R e s e a r c h P r d o u c t,sI

nc.,wen a a l ye zdcass eo f p o w e r

increasesinvoices,undergoingthetrainingprocess,of nearly

1000times,i.e.,30decibels.H

owever,thesepupilswerenottested

atthestartof thetrainingprocessandtheir voiceswerenotpar-

ticularlypowerfulones.I

tisfairto assumethattheintensityofa

reallypowerful,shut-offvoicecouldeasilyberaisedabout40

decibelswhenfullyopenedup.Thismeansa powerincreaseof

about10,000times.S

uchfiguresstaggertheimagination,butthey

areconfirmedbyscientifictestsand arebynomeansunusual.

p e n ig n

andP sc yh o l g o i c a l Por b l e m s

Now,inrealizingthisfact,the teachermustalsounderstandthat

hehasavery realproblemtofacein dealingwiththepsycholgical

sideofhiswor

.Thedifficultyofpersuadingthe pupilwhohas

                                                                              

apowerfulvoice,whichisshut off,toeliminatefearandgoafter

thetoneisno simplematter.Nevertheless,thispsychologicaldevel-

    

opmentisabsolutelyessentialifheis tolearntosing withfreedom,

usinghisreal(natural)voice.E

achtimeanopeningoccurs,the

psychologicalfactormustbedealtwithif theopeningistobe


established.Themechanicalprocessof"

openingup

thevoiceis

nowsoefficientthatthis psychologicalproblemloomsfarmore

formidablythanitdidbefore.

tisinters et i n g t h a t , w hl ie t h e s m lal e s t vioc e w h i h cis"

up

open ed

producesfarmorepowerthanthebiggestone whichisonly

partiallyopened,thereisanothervitalfact:A

smallvoicewhich

hasbeenfullyopenedandwhichis usedwithenergyandfreedom,

soundsfarbiggerinan auditoriumthaneventhemostpowerful,

o p e nd e- u p v ioc e w h i h cis"

heldbc a

"

i n p e r from a n e c . T h e d rp o

inpowerinan auditoriummay,undersuchcircumstances,beq

uite

pitiful.

Thisisespeciallytrueof thesingerwhostartedwitha

v o i c e ad nw h o h a s h d ait"

o p e nd eu p .

shut-off

emustbemd a e t o d e vleo p

thevitalitywhichisinstinctivewith thesingerwhopossessesa

naturally"

open

voice.Thisisnoteasyto accomplish.Talented

pupilsareaptto becomeemotionallye

citedandenergeticinfront

ofanaudienceandsing withgreaterfreedomandpower.Less

talentedonesslac

A

107

offandsometimesdroptoalamentabledegree.

greattn eorsub mittd e t o a p i t c h i n tn es i t y t s et a t E l e c t rci a l R e -

                                                                                                                                                                                      

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searchProducts,I

nc.W henhesangtheclimactic phraseofanaria,

heindicatedadefinitelyhigherintensitylevel onpracticallyevery

tonethanonanycorrespondingtonehe hadproducedinthe

singletonetestforthe curve.Thepupilseitherfailedto riseorthey

droppedwhentheysangamusicalphrase.This isamostimportant

phaseofthetrainingprocess.I

tindicatesoneverygoodtest of

interpretativetalent.

                                                                        

LoudSinging

Thereisonepointwhich comesuphere:theq

uestionofsinging

loudly.Thosewhounintentionally,orintentionally,misunderstand

t h i s w ro

, a r e a p t t o s a yht a t t h ee sprocd e u r e s m a e p u p i l s sni g

everytoneasloudlyaspossible.This statementisridiculously

untrue.Theintensityincreasesaredueto technicalimprovements,

i.e.,thestrengtheningofthelaryngealmusclesandthe openingof

thethra ot.Screamingan d s h o uitn g o f t n ema

legitimatesinging.A

e m o r e n osie t h a n

shoutedlower-registertoneofbothse

es,and

especiallyofwomen,isfarlouder(noisier)over acertain(low)

range,thanaproperly-producedtone.Thisshoutingis,of course,

harmful.Pupilsshouldnot,mustnot,scream

singermayma

Themi

ed-register

ealot ofnoise.Thistypeofnoise mustbeeliminated

tisthe poweroverawiderangethatcounts,and eventhen

onlygod-

u a l iyt , "

open ,

freetn oescanbeta


e n i n t o a c o u n.t

Therearestagesinthe trainingprocesswhentheloudnessmay

actuallydrop.Thisgenerallyoccurswhenwor

ingwithamanwho

shouts,awomanwhoscreams,andaboveall,witha mi

singerofeitherse

ed-falsetto

.Thepurefalsettois considerablysofterforthe

lowerpitchesthanisthe mi

edfalsetto.Thus,asthisregister is

purified,theintensitynearlyalwaysdrops,anddropsa greatdeal

forthelowesttonesforwhich itcanbe employed.Of course,when

thefalsettohasbeenfinallypurifiedand fullydeveloped,itisvery

powerfulatthehigherpitches.Thelowestfalsettotones never

becomepowerfulandshouldneverbeusedin performancethe

lowerregistermustbeusedat alltimes,evenatpianissimo,belowa

certainpitchabout middleA

b.Theadvancedpupilcansing this

tonesoftlyenoughinthelower registerandthelessadvancedpupil

w i l l e iht e r m i

t h e f a lest t o o r i t w il lb e t o o s o f t t o b e h eard.

Toneiswhatis desirednotnoise.Theteacher whothin

sheis

teachingaccordingtotheprincipleshere laiddownandwhomerely

ma

eshispup ilsshou torscreamisc a t u a lyl w o r

ingine

a c t l y te h

oppositedirectionfromtheonewhichis indicated.

f t e r t h eifr s t m a

108

or"

open ing,

theopn eingprc o e s s c otni n u s e

                                                                                                                                                                                                                                                                                                                                                                           

 





   

i n d eifn i t ley , b u t i n t h elaterstg a e s i t r a te hr t a

e s t h e f o r m foq

u a l iyt

improvementandmellowingofthevoicethanofincreasingthe

loudness.Thewell-producedvoicecontinuestoimproveandeach

developmentisaccompaniedbyanimprovementinq

uality.

                                       

ncorrectTeachingMethodsandMuscularDevelopment

owdifferentistheeffectof musculardevelopmentinthecase

o f t h e t h raot y s i ne gr t a u g h tunderth e"

down , "


f o c ussi n g t h e o vice, "

ue,

build i n g o n t h e s fot ,

"

h e a d v ioc e ,

b r e aht c o n t r lo,

"

forw a r d p l ae cmen t,

etc.,m ethd os

nthecass e

ofthevictimsofthese schoolsofthought,eachdevelopmentofthe

muscularsystemmeansanincreaseinthe degreeofconstrictionor,

inotherwords,vocaldeterioration.E

ma

achtonethesingerproduces

eshisvoicemorethroatyand thevoiceneverlastsverylong.

o m e v ioc e s c a n , i n d e e,dt a

e a l o t o f p u n ih smen t,butallbd aly-

trainedvoicesdeteriorateand,inthelong run,theydisappear.

s t h e c o n srti c t rom u s c l s e t h e m u s cel s o f t h e n e c

2

A

& B)thej

,(seeFig.

awandth e m u s c lsew h i c h h odl t h e t o n g uebac

again s t t h e p otse r i row a l l o f t h e l ray n gael p h a rny

(seeFig.4)

develop,thehigherandlowertonesstartto degenerateandare

lostandthepowerof theentirevoicedecreasesverygreatly.There

i s n o s u c h t hni g a s "

build i n g o n t h e s fot .

o n e o f " s h u t t i n g o f.f

Thisprc o e s s i s m ree l y

t i s n o t t h e v oci e t h a t i s b ul it u p b u t r a t h er


theconstrictormuscles.O

nlytoooftennodulesformon thevocal

cordsofvictimsofthis sortoftrainingandthen evensurgeryonly

furnishestemporaryreliefunlessthetechnicis changedbyproper

training,whentheywilldisappearwithouttheaid ofasurgeon.

When asingerwhousesa throatytechnicloseshisvoice,his only

recourseifhe doesnothaveittrainedproperly

andevental

istostopsinging,

ing,altogetherandletthemuscles whichheisusing

t h e c o ntsr i c tros y s t e m wea

e n f r o m lca

ofuse.If hedoesth ishe

maysingagainfora time,butthelossof voicewillinevitablyrecur.

Musculardevelopmentimprovesawell-producedvoiceandplenty

ofvigoroussingingisgoodfor it

whilemuscula rdevelopment

eliminatesathroatyvoice,andsinging,especiallyvigoroussinging,

isbadforit.

tis,indeed,a sadthingwhenthemethodofproducing

thevoiceissuch thatthemereuseof theinstrumentisharmful.

109

     

tonin g

                                                                                                                                                                                                                                                                                                                                                                     

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    

Mi

                                                                                                                                    

e d R e g i srta t i n o

Thestraightforwardcaseoftheundevelopedvoiceisrelatively

simple.Pupilswhostartwithwhatmightbe termedas"

novoice

mayprogressbetterandfasterthanthose whohavewhatsome

peoplewouldconsidera"

goodnaturalvoice,

singingwithathroatytechnicand mi

registrationismi

butwhoareactually

edregistration.W henthe

ed,theproblemisa moredifficultone.Before

themanipulationsweredevised,therewerecertaincasesofpupils

whoseregistrationhadbecomesomi

p o s sbi l e t o b r e a

itdown .A

t h e i r v ioc e s c o m p l e t ley w r e c

sing.H

edthatitwasabsolutelyim-

tthattim eitwasnecs es a r y t o cn os i d re

ed

thatthy e c o u l d n tob e t a u g h tto

owever,bytheuseofthe manipulations,suchproblemscan

nowbedealtwithq

uiteefficiently.

i g . 2 1  T h e L ayr n

andM i


Theseillustrationsindicatewhathappensincasesof muscular,permanent

mi

edregistration.Notethespacebetweenthehyoidbone andthyroidcarti-

lageinA,andobserveh o w t h i s s pcae h a s b e cm o e c l o sd ei n t h e c a s e o f m i

ed

registrationindicatedinB.

Thisconditionofmi

edregistrationcanbecured bymanipulation.Until

 

suchtime,however,asthemanipulationhasbecomeeffectiveandpermanently

changedthephysicalcondition,itis impossibleforthepupilto producea

tonewh ichisnotcom p l e t ley t h r otay a n d m i

ed.I


then,thattheconditionofmi

tisinters et i n g t o ntoe ,

edregistrationthe worstofallvocalills-

canbefeltby meansofmanuale

aminationanddeterminedwithouthearing

thesingerproduceatone.

fcourse,thepullingdownof thethyroidcartilageestablishes

thelowerregisterwithremar

tionisunv a a i lni g i n e

ablerapidity,buteventhismanipula-

trem ecases.

Where theregistrationisbadlymi

v e r y wae

110

, w i t h t h e rseu l t t h tat h e "

ed,thefalsettomusclesare

give

o n t h e a r tye n odi c a r t ial g e s





                                                                                                                             

                                                



   

                             

causesthethyroidcartilagetobe rotatedupward,sothatitsupper

p o s t rei o r e de gs v i r t u a l l y t ocuh t h e h y iod b o n e . (

21A &

eeF igs.12B&

,

B ).

e p a rtai o n o f H y o i d B o n e n a d T h y riod C a r t ial g e

ereisanothermanipulationwhichmaybeemployedin pro-

n o u ne cdcass eo f m i

e d r e g itsr a t in o: T h e t w o id ne

i n s etre d , q u i t e f a r b a c

c a r t ial g e a n d t h en,j

      

f i n gres a r e

, b e t ween t h e h y iod b o n e a n d t h e t h yor i d

ustatthee

                                                                                                          

actmom e n t a t w hci h t h e p u p il

startstophonate,theteacherpressesin andforward,thereby

separatingthehyoidboneandthethyroid cartilageandatthesame

t i m e p ul li n g i n s o m e t h y r iod t e n soi n . (

apoten tweapn oforbrea

ingdow nmi

lishingthelowerregister.I

n o w n dvei c e w il lw o r

eeF ig.22A &

B . ) T hsii s

e d r e gsit r a toi n a n d e sat b -

tissometimeseffectivewhennoother

.

ManipulationsforDisplacedLaryn

nsomecasesthelaryngealmanipulationsaresomewhatcompli-

catedbythefactthat thelaryn

A

istiltedorout ofproper,alignment.

v i o lni i s t w a sof u n d t o h v ae p u s h edhislarn y

aconsiderabledistance.O

overtoth eright

thercaseshavebeenfoundin whichan

habituallytiltedheadpositionhaddisplacedthel aryn

.S

everal

caseshavebeenobservedinwhichan unevendevelopmentofthe

nec

m u s lce s h a d d fei n i tley d i s pal c e d t h e j j

p s i t in oo f t h e l a r n y


   

.

Manyothercaseswereencounteredinwhichthe spacebetween

thehyoidboneandthethyroid cartilagewaswiderononeside than

                                                                                                                                                                                                                                             

ontheother.

n a l l s u c h d itso r toi n s o f t h e p s oi t i n o ofthel arn y

u s t mn et i s i n d i ctae d , a n dsuchad

, m a n ulaa d -

ustm entsmu stbecomb i n e d w iht

thethyroid,hyoidandseparationmanipulations.

Thus,themanipulationsmustbemadewithdueconsideration

foralltheconditionsencounteredin eachparticularcase,andthe

necessaryad

ustmentsshouldbemade.A

bsolutesymmetry,aswell

aspropermusculardevelopment,isessential.

Diversemodificationsofthemanipulationsdescribedmustbe

resortedtoinorderto copewiththevariousconditionsencountered

inpractice.Thesemodificationsaresodependentuponthe par-

ticularcasethatit isimpossibletodiscussthemin detail.Theteacher

mustunderstandtheconditionstowardswhichheis aimingand

hemustbeableto devisethenecessarymanipulationswhichfit

theparticularcase.Themanipulationsdescribedindicatewhat

111





   

    

                                                                                           

mustbedoneandare theprincipaloneswhichhavebeenestablished

uptodate.

Wor

Mi

ingwithM i

ed-rg e i s t reV

oices

ed-registervoicesmustnotbecarried uptoofar,becauseit

isthehigherfalsettoand thehigherlower-registertonesthatare

themostmi

ed.Despitethefactthat,in suchcases,thelower

r e g itse r c a n , taf i r s t , b e s u ngonlyw ithq uitea" white

w h i tn ee s s

s h o udl n o t b e e

withas"dar

u a l iyt , t h i s

c e s svi e . T h e flas e tot m u s t b e s u n g

 n o t t h r o a t y aq

u a l iyt a s p o s sbi l e a n d t h eot n g u e

instrumentshouldnearlyalwaysbeused.

i g . 2 2  M a npi u l aito n f o r M i

Theinde

e d R e g i s t r a t in o

f i n greo f e a c h h a n d i s i n s e ret d r a t href a r b a c

betweenthehyoidboneandthyroidcartilage(seeF

inthespc ae

ig.22B)andthenpressed

forwardtoseparatetheboneandcartilageas muchaspossible.

Thismanipulationmustbemadeatthe momentatwhichthepupilis to

attac

t h e t o n.eH

forw a r d p u l.lI

e m u s t b e i ntsr u c t d e t o s i n g a s s on oa s h e h a s f e l t t h e

f h e h e s iat t e s , h eisapttoe

perin eceacho

i n g s e na s t i o.nI

f

herespondspromptly,nodiscomfortisfelt.

While thismanipulationdoestendtopull inadditionalcrico-thyroidten-

sion,itsfundamentalpurposeistoseparatethe hyoidboneandthyroidcarti-

lage,w h i c h h aevb e c o m e t o o c l oe slyapp ro

i m aet d b e c asue o f t h e m i

ed-

registercondition,ratherthantoaugmentthelower-registertension.


owever,incertaincases,aftertheseparationhasbeen made,thelower

r e g itse r m a y b e plul e d i n b y r oat t i n g te ht w o i n d e

f i n g res i n a c l o c

w i s e d ier c -

tionandpullingdown.Thisdownpull mustnotdepressthehyoidbone,and

thehyoidbonemayoftenhaveto beraisedwhilethismanipulationis being

made.

Thismanipulationisusedonlyin casesofmi

edregistration,whichtechnical

faultismanifestedbyacl osureofthespacewhichshould bepresentbetween

thehyoidboneandthethyroid cartilage.Thisconditionisk

manent,muscularmi

devisedforbrea

112

edregistration,

nownas"

per-

andthismanipulationisthe bestmeans

ingdownthismostperniciousof alltechnicalfaults.





    

                                                                                                                                                                                                                                                              

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                                                        

ftherewereanywayin whichthefalsettomusclescouldbe

helpedbymanipulation,thisprocesswouldbeconsiderablysimpli-

fied,buttheycannotbereached becausetheyaresituatedatthe

bac

o f t h e l ayr n

.(

eeF ig.2.)Nv e e r te hl e s,st h e e s t b alish mentof

apurelowerregisterdoes automaticallybrea

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( P r essF

F

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offandpurifythe

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i g . 2 2  M a npi u l aito n f o r M i

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

BThisill ustrationindicatesthepointsbetweenthehyoidboneand thyroid

cartilageatwhichtheinde

fingershouldpressforwardtoseparatethem

duringphonationandtherebyalleviateandfinallyeffectthecure formi

ed

registration.

f a l s tet o . I n c a s e s o f m i

wea

e d r e g itsr a toi n , t h e flas e t t osio f t e n v rey

w h e n i t fni a l l y a p e asri n i t s p u r e f om r .A noth erreasn owhy

thelowerregistermustnotbe carrieduptoohigh(never aboveC

onthethirdspace ofthetrebleclef)and thendeveloped,incases

ofmi

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itandstill furtherincreasethelac

ofbalancebetweenthewea

113


      

                                    

                                                                      

 

 

 

   

                        

falsettoandanoverdevelopedlowerregister.Theresultofthis would

beonlytostill furtherunbalancethee

uilibriumofthelaryngeal

muscles.O urproblemisto establishapurefalsettoandbalanceit

withthelowerregister,whichgenerallytendsto developfarmore

uic

lythanth e f a l s tet o .

UnbalancedR egistration

Therearemanycasesofstudentswho startwithfairlypure,but

                                                                                                               

unbalanced,registration.Wherethis balanceistothefalsetto the

problemisasimpleone,becausethe lowerregistercangenerally

be"

p u l ld ei n

i n a s h o r t s pcae o f t i m ,ea n d t h e p r p o e r b a ln ac e

established.Whenthe balanceistothe lowerregister,theproblem

isadifficultone, becausethebuildingupofthe falsetto,which

cannotbesub

cult.I

ectedtoaheavybreathpressure,is relativelydiffi-

nsuchcasesthe useofthetongueinstrumentis mostbenefi-

cial.Th e y a r e a lo shelpd ebywor

onthenec

m u s cel s a n d o n t h e

actionofthebreathingmuscleswhichwill bediscussedlater.H

ever,theteachermustproceedcarefullyandslowly.H

ta

ow-

emustnever

e t h e l o w rer e g i set r u p t o o h i g h a n d h e m u s t b eu s r e t o e s tb al i s h

a n d r e tian a p u r e , " d a r

"

( n o t t hor a t )yf a l s etto . A s s o o n a s t h e

properbalance,ore

uilibrium,betweentheregistershasbeen

established,thewor

canbespeededupand progressmaythen

becomeveryrapid.

114




 



    



h a p tre5

TH E

TTA

I

NTO NA T

N

LaryngealPharyn

(Throat)

Therearetwotypesofmuscularaction inthehumanbody:

a.C

 

onsciouslycontrolled

b.Refle

,i.e.,u atom a t i c , o r ntou n d e r c o n sciou s c o n t r lo

Nomuscleinthe humanbodycanberela

edwhiletheindividualis

stillalive.Thus,fromthebrain center,whichsuppliestherefle

 

ne rve

impulses,acertaindegreeoftensionis maintainedthroughouttheentire

muscularsystemofthebody.W

a"

rela

ed,

henoneisseatedin whatwemightterm

c o m frot a bel p o s i toi n , t h i s p o s t uer i s n o t m a i n taind ebyany

consciouseffortormuscularcontrol,butby reasonoftherefle

o n t h e m ucs l e s w h i c h d e t rem i n e te hp o s t uer . S u c h r e fel

as"

tonu s

or"

m u s cel t o n e . I

nown

f t h e i n d i ivd u law e r e t o d i e s u d d e nyl , h e

wouldcollapse,byreasonofthefact thatthisrefle

cease.A

  

te nsion

t e n soi n i s k

                                                                                                                                                                                                                                                                                                                                                                                                                 

muscletonewould

nassociationoftheconceptof muscletonewiththatofposture

shouldhelpthereaderto understandthisphenomenon.

nlifewefin d e v e r y tpye o f i n dvi i d u la, f r o m t h ee

persn o w h o i s o v re- r eal

e d a n d r e ltai v eyl "

dead ,

trem e l y p l a icd

tothehigh l y - srtu n g ,

neuroticone,whoisalwaysin apronouncedstateoftension.Physiologi-

callythedifferencebetweenthesetwocaseslies inthedegreeofrefle


muscletonepertainingtoeach.I

tisinterestingto note,inthisconnection,

anassociationbetweenthestateofmuscletone andthetemperamentof

theindividual.

upps oe a p e r s o nist t i n g i n a r lea t i e vlyrela edpostu r e s t a rstt o m o v .e

ewillsendout,from hisconsciousbraincenter,nerveimpulseswhich

bringintotensionthemuscleswhich mustbeemployedintheaccom-

plishmentofthismovement.

v e r y msuc l e , we hn i n a s t a t e o f r lea t ievl y h i g h r lea

ation ,mustbe

broughtuptoa certaindegreeoftensionbeforeit willactually"

shootoff

orcomeintocontraction.W

henthestateofmuscle toneistoolow,i.e.,

theindividualisover-rela

ed,themuscleswillhaveto bebroughtup

toastateof tensionatwhichtheywillcontract, beforemovementispos-

sible.W heretheindividualmaintainstoohigha stateoftone,many

muscleswillalreadybein astateofcontraction,andsomeof thesemust,

therefore,berela

eduntiltheyhavearrivedat theidealstateoftone,

i . e,.t h a t c o nidt i o n we hr e t h e s l c a

arej

115

hasben eta

enoutofthm e ,andth ey

ustatthepoint wheretheapplicationoftheconsciousnerve impulse



          

                                                                                                                                                                                                                                                                                                                                                                                                                                                                                              

willbringthemintocontraction,beforethe movementcanbeaccom-

plished.

Thereis,then,anidealstate oftonus.V

irtuallytheentiremuscular

systemofthebodyshouldmaintainthis idealconditionnormally.Under

t h e s e cric u mtsa n cset h e "

e

slac

"

hasben eta

enoutofallth e m u s c lse,

ceptthosewhicharein tensionbecausetheyaremaintainingthepos-

tureofthebody,and thosewhicharerela

edbecausetheyareantagonis-

tictothesetensedmuscles,i.e.,those muscleswhosefunctionistoreverse

themovementforwhichthetensedmusclesare responsible.

Toma

emattersalitdecl earer,letusconsidera weighttiedtoa

pieceofelastic:I

fonecommencestolift theweightbymeansofthe

elastic,itwillbe foundthattheelasticwill stretchuntilacertain point

oftensionhasbeenreached,andthen,not untilthen,theweightwill

starttomove.I

hasben eta

theslac

notherwords,theweightwill notmoveuntiltheslac

e n o u t o f t h e eal s t i .cT h i s e

hasben eta

actpoin t o f t e n s in o, a t w h i h c

enup,andth e s l i g het s t d e g reeofadd e d t e niso n

liftstheweight,correspondstothe optimumconditionofmuscletone.

Toohighortoo lowastateoftonus mustleadtoinefficiencyofaction,

slowresponseandinaccuratead

rela

ustment.When theconditionisoverly

ed,thecn osciu o snere v i m p u le s s m u s t fris t b e a p p liedtota

slac

beforethemusclescancomeintocontraction.W

toneistoohigh,the musclesmustberela

eupthe

henthestateof

edbeforetheapplicationof


theconsciousnerveimpulsescanbe utilizedinorderto bringtheminto

actionaspartof theco-ordinationofmuscleswhichactuatesthemove-

ment.

Thegoalofthesinger, oroftheparticipantin anyotherfieldofactivity

inwhichmuscularactionis involved,isgenerallytheattainmentofrapid

andaccuratemuscularresponse.S

uchresponseis,in alargedegree,

dependentupontheattainmentofanidealconditionof refle

muscle

tone.Thiscorrespondstothestate ofthemuscularsystemofthe athlete

b o d y we hn "

set

atthemar

s

, r e a d y t op sringatth epistolsh o t ( e v rey

muscleisina stateofactivepreparedness).Thisconditionengendersa

s e n s e fof r e e dm o w h i c h mgi h t , p reh a p,sb e m i s t a e n f o r r e l a a t i o n b y

anyonewhoisunversedinthe fundamentalprinciplesofphysiology,

d e s ptie t h e f a tct h a t i t i s n o t r e lal y a r e l a

e d s t a t.eI

tisnotastateof

flp o.

When teachingvocaltechnicor,forthat matter,manyothertechnics,

someun

u a l iife d t e c a h e r s aer w o n t t o d ier c t t h erip u p i l s t o r lea

.S

uch

adirectionisnot onlyphysiologicallyincorrect,becauseofthedifference

betw e e n r e l a a t i o n ( ro"

flop

) a n d m u s lce t o n e , b u t a l s o b ea cuseth e

muscleswhichareusedin phonation(orintheaccomplishmentofany

otherphysicalaction)mustcomeintotension inordertoaccomplish

thisaction.

Thecreationofmuscletoneis largelyaq

uestionofcontrolled

emotion.V oluntarymuscletonecanbeobtainedonlyby acomplete

                                                         

understandingandcommandofeverythoughtandactionduringa

songorspeech.

verytim e , b e froe t h e s i n g e r s t a rstt o s i n g , h e m u s t f i rtsr e l a

muchaspossible especiallythemusclesusedinphonation.H

11

as

aving



 



rela

                                                                                                                                                                                                   

ed,hemustcreateemotionvoluntarily,becomingemotionally

active,alertande

pressivewithoutcomingintotension.Thiswill

automaticallytendtosetupthe properstateofmuscletone.I

fheis

e m oito n al ly "

d e a d pn a

dead

ad ni f h i s f a c e i s e

p r e siso n lses  "

hismuscularconditioniseither over-tensedorover-rela

rela

ationrs eu l tni g i n i n e

ver-

p r e sisv e n esscanbeoe vrcom ebyhiswor

inghard e r a n d b eo cmin gmoree

beingover-e

ed.O

-

c i t e d  b u t n tot o t h e p o i n tof

cited(causingpre-tension)andlosingself-control.

Thesingermustbeable torela

tion,becausehemustrela

rapidlyallmusclesusedin phona-

themeachtimebeforehestartsto singa

m u s ia c l p h r ae s  e a c h t i m e h eat

lso,hemustrela

e s a b r e aht .

momentarilyduringtransitionstonewemo-

t i o n.sT h i s a bl i t y t o r eal

tonus,andthenattac

,thencom eintheprop erstateof

thefirsttoneofthe phrasewithproperly

timedtensiononthemusclesused inphonation,mustbedeveloped

andpracticeduntilit issecond-nature.A

sthepupillearns toasso-

ciatefreephonationwithemotion,healsolearns howtocomeintoa

properstateofmuscletone.

ttc a

neofthemostvital phasesintheestablishmentofthe falsetto

d e p ed ns u p o n t h e p upil

s a b i l i t yot s t a r t , roa t t a c

c e n t reo f p i t c h . I f h e s l u r s o r " f e e l s u p

,thetoneinth e

intoaton e,thereg i s t r tai o n


isalwaysmoreorless mi

ed,becausethereisno morearytenoid

tensionthantheamountwhichis determinedbytheproductionof

t h e i n iita l s o u n dhema

mustbemi

es.I

                                                                                                                                                                      

f t h e r e i s a n o tca v e sul r t h e r e gsit r aito n

edtoaveryhigh degree,becausetheamountoffalsetto

tensionisonlysufficientforthe toneoneoctavebelowthetoneto

besung(thefirst soundproduced).E

engendermi

Theattac

hasbeendiscussedinpreviousboo

clearmentalconceptofthetone

ela

ttac

venaslightslur tendsto

edregistration.

willbeam p l i fei d h e r e . A t t a c

sung.N o"

s e l f l itse n e r

s

thatdiscussion

depn eds,inth efirstplc ae , u p n oa

pitch,vowelandloudnesstobe

a cneverm a

e a p r o p e r atta c

.

ationb eforeAttac

alsodep endsup o n t h e r eal t i v e r lea

a t i o n foa l l m u s cel s

usedinphonationatthe instantbeforethetoneisinitiated.L et

thispointbeveryclear

Muscleswhichhavecomeintotension

beforetheinceptionofagiven actcannotbeusedfor thatact,

u n l esst h e y a r e fris t r e l a

117



edandthn ere-tn esed.Onlywhenth e

                                                                



musclesusedinphonationcomeintoaction atthee

oftheattac

                                                                    

actmoment

cantheyco-ordinateproperlyintheproductionof

thetone.Thepreparationforthis actis,then,oneof rela

ingten-

sion,notofsettingit. Thepropertonguemusclesmustbecome

t e n s e tat h e m o m n etofattc a

.I

f t h e y b eo cmeten s e t o o s on ot h e

antagonisticmusclescomeintotensionandconstrictionis estab-

lished.

Pre-tension

omepupilshavebeenerroneouslytoldtotense thetongue

beforetheattac



,holdthetension,and thensing.Thisprocedure

willdevelopconstrictionandtonguetremolos.Thetensionon

thepropertonguemusclesmustoccur atthee

attac

. T h e t o nu ge s h o u ldbedraw nbac

u s t b eof r e t h e a tat c

fortheattac

e d c o n dtii o n

, a n d s h olud b e r e a d yot c o m e i not t e n s i n o

.Thisprocedureis,however,sometimesfraughtwith

dangerbecause,ifitis drawnbac

theattac

                                                                                                           

actmomentof

inarela

andpre-tensed(tensedbefore

),thetonewill beverythroaty.Therefore,thisdirection

shouldbegivenonlyin certaincasesinwhichits applicationis



beneficial.

TongueI

nstrumentandA

ttac

Whenthetongu einstru m e n t i s b ien g u s e dof r t h e a t tca

tonguemustberela


ustamom e n t b e froe t h e a t tca

musclesoccursrefle

,the

edandthen,gentlybutfirmly,pushedbac

. T h e t e niso n o n t h e por p e r t n ogue

ly.Thismeansthatthepupil mustnotattempt

totensehistonguevolitionally.I

fhedoesso, hewillinevita-

blypre-tenseitandthen bringtheantagonisticmusclesintoten-

sionatthemomentofattac

.Thetongueinstrumentfunctions

beneficiallyonlybecauseoftherefle

itatthemom e n t o f t h e atta c

   

reactionofthetongueagainst

.

                                                                                                

Tongue-tie

notherhandicap,whichissometimesencountered,comesto

mind:Badtongue-tie.Thelittlecordunderthe tongueissome-

t i m e se v r y s h otra n d t h i c

.I

n s o m e c ae s s i t m a y b e a s col s e a s % "

fromthetip.

nysuchtn o g u et-i e m a

esitimps os i b l eof r t h e t e c ah e r t o e m ploy

thetongueinstrument,becauseallhewouldsucceedin doing,if

heweretoattemptto useit,wouldbeto bunchupthebaseof the

tongueinthethroat.F

urthermore,itisimpossiblefora tongue-tied

individualtoassumetheproperpositionof,or tensionon,the

118





                                                                                                



 



    

tongueforphonation.I

                                                                    

tis,therefore,physicallyimpossibleforhim

toproduceatonewhich isnotthroaty.F

tioncanbecured veryeasilybysurgery.I

ortunatelysuchacondi-

nthiscasea surgeon

mayseverthelittlecord underthetongue.Thisveryminoropera-

t i o n w il lr e l e ae sitandma

effc e t i v ley . (

ig.23"

eitpossib letowor

eeF ig.23A

T o n ge u- t i e

&

w i t h t h e sutd e n t

B.)

a n d N om r alTon gue

Bshowsthenormaltonguewiththe relativelylongcordunderneathit.The

tipofthetn oguemu st,ofcou r s e , b e eel v a td et o s h o w t hsic o r d . I

nA

, a n a b n o-r

mallyshortcordis indicated.Notethatinthiscase thetipofthe tongue

cannotbepointedbutis actuallypulleddown,whenthetongueispointed

upward,withtheresultthata smallin-curveisformedatthe tipofthe

tongue.I

nsuchbadcasesof tongue-tie,itisphysicallyimpossibleforthe

pupiltoassumetheproperposition ofthebaseofthe tongueforthepharyn-

gealresonationofthetone.A

badtongue-tierendersitimpossibleforthe

singertoproduceatone whichisnotthroaty.I

fthetongueinstrumentisused

insuchcases,the onlyeffectistobunch upthebaseofthe tongueagainst


,therebyengenderinge

treme

throatiness.

ortunatelythisconditioncanbecured bymeansofaverysimple surgical

operation.

BreathingMusclesandA

ttac


Thethirdphaseofthe attac

momentatwhichthesingerattac

after.F



dependsuponthebreathingmecha-

nism.h T e m u s lce s o f t h e t h ora

mustcm o eintotn e s i o n a t te he

    

sthetone,andnot beforeor

                                                                                                                                                                         

urthermore,theinspiratorymusclesmustbeinthe process

oftensingthrough,andalittle after,themomentoftheinception

ofthetone.

119



act

                                                                 







   

    

A

B

i g . 2 4  P o sut r e

Theassumptionofaproperpostureis e

tremelyimportantbecauseithas

alargeinfluenceonthe abilityofthesingerto holdthebreathwiththelower

bac

ribanddiaphragmaticmuscles,andalsobecauseit influencesthetension

onthenec

m u s cel s . A a n d B i n dci a t e t h e por p e r p s ot u r .eT h e h e d aisraised

b u t n e iht e r s t u c

o u t n o r h led b a c

dropp ed.Theb odyiserc et . T h e b c a

t o o f a.rT h e s h olud e r s a n dchestare

ofthenec


andthesm allofthebc a





 

                                                                                    

  



  











ig.24 Posture(concluded)

areasslightlycurvedas possible,i.e.,thespineisas straightaspossible.

Theupperpartofthe legsisrelativelyhorizontal.Thek

neesareslightly

bent.Thefeetareslightlypointedout, separatedashortdistanceandone

footisplaceda shortdistanceinfrontof theother.Thebodyis firmlyand

freelybalancedonbothfeet,whichare s

isneith ertiltd ebac

chestan d s h o udl e r s a r e r lea

I

uarelysetuponthefloor.The body

ward snorforw ardsan d t h e m u s lce s o f t h e am r s,nec

n c o rer c t p o sut r e

,

ed.

theshu o l d esra n d c h e s t rae r a i s d eandthehed ais

droppedandpulledin.

DI

n c o r rcet p o s t u re

thechs et i s f o r c d e d o w n a n d te hb a c

curvd e b a d l .yT h e h e d aispulledbc a

I

n c o rer c t p o sut r e

andnec are

andin.

theupp e r p a r t o f t h e lg es a r e b e n tbac

w a r d srfo m

thehips,thusthrowingthespine outofalignmentandforcingtwocurves

o f t h e s p ie ni n t h e s m al lo f t h e b a c

a n d a t t h e nce

. T h e h e a d i s sutc

out.

Theweightofthebodyis ontheheels.

Thereare,ofcourse,innumerablewrongpostureswhichcanbe assumed.

n s o m e c ae s s t h e e nitr e b o d ysit o o t e n s.eI

nothercs ae s i t i s t o o r eal

llcasesofw rongps ot u r e s rev e t o e n g e n d ret e n s i n oofthenec

s h o udl e r m ucs l e s , ad nt o d e s t r y othep r o p ere

uilib r i u m , ro"

ed.

,chestan d

hold ,

ofthe

breathingmuscles.








                                                                                                                                                                                                                                             

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     

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ninspiringthebreath,the chestmustneverbeinvolvedin the

sligh testdeg reeandth e s h o u le dr s m u s t b eer l a

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u e s toi n o f

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differentdirectionsandarecompletelye

ualizedsothatthesystem

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downofe

-

uilibrium.Thereadermustassociateinhis mindbalanced

tensions,whichinhibitmovementofthemembersinvolved,and

theire

uilib r i u m . Te he

u i l i biru m o f t h e ber a t h i n g s y set m i s o f

fundamentalimportanceitimpliesholdingthebreathingmuscles

i n t e n soi n . (

eeF ig.25A &

b o t h t h e isnp i r tao r y a n d e

B . ) T hsib a l a n e c d t e niso n , i n w h ich

p i r aot r y m ucs l e s t a

w i t h t h e col s u r e fot h e g l o ti ts . I

e p a r t , c -oo r dni a t e s

t i s t h i s c o - rod i n tai o n w h ichma

es

legitimatephonationpossible.S uchholdingofthebreathingmuscles

ise

a c t l y te hr e v e re s f r o m t h e ie da o f "

b r e ahtc o n t r lo

whichis

basedupontheconceptofa controlledstreamofairwhichis blown


outthroughtheglottis."

Breathcontrol

impliesmovementofthe

breathingmuscles,whileproperly-producedtonescanoccur^ only

whenth e s e m ucs l e s " h o l d

ut

Gestu retoE

u s t b eof r e t h e p uipl a t t a c

ine

uilib rium.

s t a bi ls h I

n s p iar t o r y e T n s in o

satonehemuste

andlowerribs.Beforetheinspirationis

starttosing,andgo onoutwiththediaphragm,ma

c e r t ian t h a t t h e bca

out,

pandhisd i a p har g m

uitecompletehemust

m u s cel s d o n o t " g i v e

ingabsolutely

rela

o r m o v.eT h i s

orinspiratory,gesturemustbemadesmoothly,andrela-

tivelyslowly,andmustcontinuethrough,andali ttleafter,themo-

mentofattac

.Thebreathmustbe inspiredaseasilyaspossibleand

thenecessarydegreeoftension,whichdependsuponthe pitchand

loudnessofthetoneto besung,mustbeappliedfor theattac

tone.A

ofthe

fterthebreathhasbeen inspired,thecontinuationofthe"

gestureoccurs,throughtheattac

breathingmuscleswhichisnecessaryinorder toattac

erly.Thefinale

    

thetoneprop-

pansioniscausedbytensionon thebreathing

muscles.Theinspirationofthebreathceasesat themomentofattac

122

out

,becauseofthetensionon the

                                                                                                                                                                     

.



 



    

ig.25HoldingtheBra eth

Thisillustrationshowsthemannerin whichthebreathis"

held

forphona-

tion.N o t e t h a t btoh t h e b a c

andfrn o t o f t h e t osro , a t t h e l w o erbac

andatthediaphragm,aree

pandedand,asindicatedbythearrows onthe

ribs

drawingattheleft,thepull isforwardandoutat thediaphragm,andbac

wardan doutatthelow erbac

ribs.Th e s i n g rei s h o l d i n gthee

a n d p r essi n g o u t a g a i n s t te hi n - p ul l. T h eer m u s t b e n o " g i v e

whichholdthisout-pullduringthe entiree

f i g uer . T h ee s t w o p u lsl, o u t a n d bca

t h e f r otn, m u s t e



-



p a n soi n

o n t h e m ucsl e s





ecutionofamusicalphraseor

atthebac

a c t l y b laa n c e n adholdine

,andforw a r d a n d otua t

u i l i biru m . A s t h e t e n s i o n i n -

creasesforarise inpitchora decreaseinintensity,thepostureande

uilib-

rium,i.e.,thebalancebetweenthetwogroupsof muscles,mustatalltimes

bemaintained.Notethatthechestand shouldersshouldnotinterferewith

this" hold

ofthedip a h r am g aticag a i n s t te hb a c

Thisconditionofbalanced"

m e n t o f atta c

held

e

r i b m ucs l e s .

pansionmustbeestablishedatthe mo-

.

Thetensionmayspreaddowntothe abdomenbutitshouldneverspread

upintothechest andshoulders.


                                                                                                                                                                                                                       

 

 

 

   



TensiononLaryngealandPharyngealMusclesinA

Noteinthisconnectionthat thetensionfortheattac

thelaryn

                                                                                                                                                                                                                                                                                                                                       

ttac

startsat

andtongueandgoesondown intothebreathingmuscles,

thetensiononwhichmusclesis notcompleteduntilaftertheinitia-

tionofthetone.I

nthiswaytheclosure oftheglottisis established

asplitfractionof asecondbeforethebreathpressureis completely

applied.Thisclosesthevalveandstops allforcede

breath.I

pulsionofthe

ftheclosureof theglottisoccurstoolate

afterthetension

isappliedtothe breathingmusclesthevalvedoesnot close,and

thesing erisonlyab l e t o p r o dcue t o n e b y maen s o f a f o r e cde

tionwh ichmustth enbechec

throatytechnic.O

edbymen asofthenec

pira-

m u s cel s , i . .e,

fcourse,theclosureof theglottisisintimately

associatedwiththedefinitionofthepitch andloudnessconcepts

andwiththetensingof thetonguemusclesfortheshapingof the

pharyngealcavitiesforthepitchandvowelconcepts.I

nother

words,ifthementalpictureof thetoneisnot absolutelyandclearly

defined,thelaryngealandpharyngealad

ustmentsareincorrectand

uncertain,theglottisdoesnotclose properly,andanyaccuracyof

ad

ustmentisimpossible.Thevocalapparatusdoesnotwor

o u t a r e ao snwithu o t a m e n t lap i c t u r e

with-

f c o u r s e te hs e l f -i ls t e n er

alwayshasablurredtoneconcept andis,therefore,neverableto

closetheglottiswithoutthe useofhisnec

mu scles.


Thus,fortheattac

,thethroat laryn

andtongueleads.The

tensioninthebreathingmusclesis notcompleteduntilafraction

ofasecondafterthe throattensionhasbeenestablished.I

thora

leadsn a d t h e l a rny

fthe

andton g u e l a g ,ht e g l o tits d o e s n to

closebecauseoftensiononits ownintrinsicmusclesandthebreath

is,perforce,blownout.

D e s ptie t h e f a tct h a t t h e t hor a t " l e a d,s

t h e a t tca

s h o udl a c t u al ly

beonesingle,properly-timed,co-ordinatedact.

M a i net n a n ceof"

old

avingn o c e e s tb al i s hd et h i s "

anytim e , l e t g o ( r lea

this"

hold

hold,

)untilheta

thesing ermustnv ee r , a t

esanewbra e t h . F u r t h e r mroe ,

mustalwayspersist,eventhroughtheproductionof

consonantsandchangesofpitch,throughoutthesingingof amusi-

calphrase.I

tisimperativeforit tobemaintainedwhilethepitch

isbeingchanged,despitethefact thatthedegreeoftensionin-

creasesasthepitch risesandlessensasit descends.Thus,thee

uili-

briumofthebreathingmusclesmustbe maintained,inspiteofthe

changesinthedegreesoftension,until anewbreathisinspired.

124

                                                                                                            

   

 

     Give



o n t h e B raet h i n gMuscls e

Thereareagreatmanywaysin whichthepupilmay"

rela

give,

                                                                              

i.e.,

thebreathingmuscles.Themostprevalentisby meansofa

movement,upordown,ofthechestand shoulders.Thesegestures

t r a nlsa t e i not a "

give

o f t h e m ucs l e s o f t h e b ac

.Thediap hragm

maymovein,out,upor down.A nysuchmovementsautomatically

destroythee

uilibriumofthesystem,andthe singercommences

toblowbreath,therebydestroyinglegitimatephonation.(

ee

i g . 2 4).

Pre-tensionandI

nterference

Thetensiononthemusclesused inphonationmustoccurfor this

act.I

f a n y m u s lce b e c m o esten s e b e f roe t h e m o m e n t o f a t tca

musclecannotcomeintotensionforthis act.S

suchmusclemaybecalled"

pre-tension.

  

,this

uchtensiononany

                                                              

Pre-tensiononanygroup

ofmusclesusedinphonationconstitutesthe mostperniciousform

ofinterference,orantagonisticmuscularaction..

Wor

A

D o n e i n Por d u cito n o f T oe n

c e r t ian a m o u ntofwor

orenerg ymustbee

p e n dd et o p r o d u ce

anygiventone.Thisvariesto anenormousdegree,accordingtothe

stateoftechnicalproficiencyofthe singer.Underidealconditions

theeffortwhichmustbee

ofwor

pendedisdeterminedbytheamount

necessarytotensethemuscleswhichare, andshouldbe,


usedinphonation.I

npracticeothermusclescomeinto tension.

     

Thesemusclescomeundertwoheadings:

1.Theinterferingmuscleswhichco-ordinate incorrectlywith

phonation."

Pre-tension

                                                                        

comesunderthisheading.

2.Muscleswhichcomeintotensionbut whichdonotco-ordinate

withphonation.

Boththesegroupsofmusclesshould,of course,berela

edand,

duringtheprocessoftraining thevoice,thetensiononthemshould

alwaysbelessening.I

nbadcases,however,thetensiononthese

twogroupsofmusclesis e

thewor

tremelyhigh,underwhichcircumstances

whichmustbedonein ordertosingis enormouslyaug-

mented.

W e c o u l d s t a t e t hsii n t h e f o r m foa n e

uatin o.

     

Thus,if:

W=

T o t lam u s c ual r t e n soi n ( i . .e, t o t law o r

                  

d o n e b y sni g e r w h en

heproducesagiventone)

125

                                                                                      





    

    

                                                                                                                                                                                                                                                                                                                    

Tensiononmuscleswhichshouldbeused inphonation

= T e n s i o n o n i net r f eirn g m ucs l e s

Tensiononmusclesnotco-ordinatedwithphonation

Then:W=

2

Thismeansthatthe"

.

wor

done

o r d e r t o sni g a g i v e n tn oe i s e

(musculartension)re

ualtothe"wor

done

uiredin

inorderto

tensethemuscleswhichshouldbe usedinphonation,plusthe

wor

done

o n i n t efre r i n g m u s cel s w h i c h c-oo r dni a t e wtih p h o n-a

t i o n , btus h o u l d ntod o s o , p l u s t h e"

wor

cometh i s t e n s in o, p l u s t h e"

done

wor

done

inordertov oer -

o n m u s lce s w h i h cbecom e

tensebutdonotco-ordinatewith phonation.

nviewofth efactthatb othY

andZ canbeofanym a g n iut d e ,

thereaderwillreadilyunderstandwhyit isthatthesinger whohas

beentrainedincorrecdy,orwhouseshis voicebadly,isforcedto

ma

e s o d i s t rses i n g lygreatn a e f f o r.tI

conceivableforthetensionsY

andZ

ne

t r e m e csae s i t w o u ldbe

tobecomesogreatthatit

wouldbeimpossibleforthesinger toproducetoneatall. Theten-

s i o n Z d o e s n toc o u n t i n p rd ou c i n gthetonean d t h e t e niso n Y

b e o v ecr o m e b y a n e

must

u a l t e niso n i f t h e s i n g e r i s t o p r ou dc e s o u n d

atall.Th us,hecandoann e o r mu os a m o u ntofwor

tremendouseffort,andactuallybedoingnowor

,i.e.,m a

ea

atall,asapplied

totheproductionoftone.


partfromanyotherconsideration,then,itwill beseenhow

i m p otra n t a p atro f t h e t e a h cer

swor

l i e s i n t h e ei lm i ntai o n o f

interferingandincorrecttensionwhenthepupil issinging.W hen

hehassucceededinreducing bothY

t i o n,st h e w o r

nomeansgreat

ease.

andZ

tominimumpropor-

donebyth e p u p i l i n odr e r t o p r o d uceton e,isby

infactheis thenabletosingwith consummate

a l l a ice s i n T e nisn g E

t r a noeu s M u s lce s

Theideathatcertainmuscles,not usedinphonation,shouldbe

tensd eto"

s u p p rot

s c h o loo f t h o u g ht

b e t e n sd et o "

t h e v oci e i s e n t ier l y f a lal c i osu. T h e r esia

w h i c h blei e v s et h a t t h e l g e s a n d b u totc

s u p prot t h e t o n.e

sshould

Theida e m u s t b e t htat e n s i n oon

musclesnotusedinphonationhelps thosemuscleswhichareused.

Thisisanabsolutefallacy.W

hilethemusclesusedin phonation

mustbetensedforthat act,alltheothermuscles inthebodyshould

beina conditionofoptimumtonus.Thismeansthatthesinger

shouldbeina stateoffreedomandalertness,butthat themuscles

notusedinphonationshouldbe relativelyrela

12

ed.

    

                                                                                                                   

 



    





n e t e ah cerpoin tedoutth a t h e b e l ivee d i n t h e " b r e a t h c l u t h c

whichhes as o cai t e d wtih t e n soi n o n t h e b utto c

s.Oneneedhardly

discusstheabsurdityofsuch notions.Theonlyeffectoftensionon

themusclesnotusedin phonationistoincreasetheeffortthe singer

isma

ingandtord a i c al ly i m p iar h i s m u s u c l a r e fifc i e n cy.I

playerweretotensehis leftarm,whilestri

rac

fatennis

ingtheballwith the

etheldinhis righthand,thistensionwouldprobablyso impair

h i s a b i lt y t o m a

e a c c u r tae m u s u clarad

misstheballaltogether,orat anyrate,stro

thinge



ebadly.Thesame

actlyp aplis et o t h e s i n gre.

fthe"

itisq

ustm e n t s t h tah e w o u l d

p r e -et n s in o

o n t h e m ucs l e s u s d e i n p h o n tai o n i s t o o g reat

uiteimpossibleforthesinger toproducealegitimatetone.

o m pel t e " p r e -et n s i n o

o n t h i s g ru op o f m u s lce s w o u l d r e n dret h e

productionoftoneimpossible.

T i m ig n

o f T e niso n

Thepupilwhotenseshis entirebodyandthentriesto attac

tonebecomesvirtuallyparalyzed.H eisma

b u t h e i s d o ig nn o w o r

ingatremendouseffort,

a t a l l  h e i s o n l y fgi h t i n g h i m s lef . T h e

properpreparationfortheattac

tonin gup,

the

  

dependsupontherelease,the

o f t h e e ni tr e m u s u c l a r s ytse m o f t h e b ody,bu titis

mostimportantforhimtorela

                                                                                                                                                                                                                                                                                            

,asmuchas possible,themuscles


whichareabouttobe usedinphonation.Thethroatysingerpre-

pareshimselfbytensingandthen throwingthistensionintoreverse.

Theproperly-trainedsingerprepareshimselfbyrela

heisableto"time

ingand,then,

t h e t e niso n a n d birn g t h e p rp oe r m u s lce s i n t o

actin oatthemom e n t o f a tat c

T i m ig n

.

isoffund amen t a l i m prot a n c e i nisn g i n g.Whenthe

singerisperforminghemustgraduatethe degreesoftensionforthe

pitchesandloudnessesofthetoneshe hastosingwith greatpreci-

s i o n . H e m u s t n e v rer e l a

betw eenton es.Thu s,heshou ldrela

w h e n h e t a e s a b r e aht , a n d t h n e h e m u s t r eal

only

ascomp l e t eyl a s

possible.Thesechangesoftensionapplytothe musclesofthe

laryn

,tongu e a n d t h oar

.Theydp e e n d ,of r a d

u s t mn et , o n t h e

pitchchanges,duringtheperformanceofa melodicline,inwhich

theloudnessshouldnotbevaried onanysingletone.Theymust

beperfectly"

timed

andmustco-ordinatewitheachpitchchange

withabsoluteprecision.I

a c c uar t e "

timin g

t i m ig n

fthepitchis notcenteredproperly,such

i s i m p ossi b l e t o c ac o m p lish.Whenthes

illin

a n d t h e ptic h p r e ics i o n aer n o t o f a h i g h d g e r e e o f a c u r a c,y

itisimpossiblefor thesingertointerpreta melodiclinewitha

r e a lyl "

127

                                                                                                                                                     

open technic.





       T i m ig n

a n d C h a n g e s o f T esni o n ( Ptic h )

f t h e t o n e i s por d u c d e p r o p rel y t h e a d

                                                                                                                                                                                                                                                                                                                                          

u s t mn et b e t w eenthe

laryngealmuscles(arytenoidandthyroid)alterswitheachchange

ofpitchandloudness.W

hensingingamelodicline itispitch

loudnesswhichneedbe ta

not

enintoaccount,whenconsideringthe

laryngealmuscles,becauseanychangeofloudnessona singletone

swellingorm a

i n g a d e cer s c e n do(e

c e p t f ros p e c i lae f f e cst) 

d e s tor y s t h e fol w o f t h e m leo d .yT h i s t y p eof"

e m oito n a l

e f f e tci s

cheap,unmusicalandoffensivetotheearof themusician.Thus,it

istheaccurateco-ordinationsofthe laryngealmusclesforpitch

withwhichwearemostconcerned.Thedegree oftensionandthe

co-ordinationofthelaryngealmuscleschangewiththepitch, but

thetensionshouldnotrela

W h e n t h e t e n s in or e l a

untilanewbreathis inspired.

e s , t h e ptic h w i l l por b a byl d r o p a n d te h

s i n g rei s t h e n f o r e c d t o s l u r i not t h e n e

t t o n e . Tihs i s d i s a srto u s

because,witheachslur,theco-ordinationofthe laryngealmuscles

goesfurtherandfurtheroutof ad

ustmentand,afterarelatively

fewton e s , t h e sni g e r , w h o i s t r y ig nt o s i n g w i t h n a"

will"tieup

open

techn ic,

a n d , i n bd ac a s e s , m a y b e u n albe t o g o o n s i n g ing.

Thus,thesingermustdevelopahigh degreeofs

t h e t e niso n s a n dinholdin g t e n s in ow i t h u ot"

tosingleg i t i mtae l y . I n c o n

illin"

u n c toi n w i t h t h iss

s l u r rni g a n d " g i v i n g

offkey

i f h e w a nst

ill,hisin t o n aito n


m u s t b e vrit u al ly p e r fcet . S i n g i n g"

timing

givin g,

isveryun p l e aa snt,bu t

a r e m uh cworsefu a l t s ,rfo m t h e t c e h n i cla

standpoint,becausetheyeliminatethepossibilityofanyrealsinging.

Nosingerwhosevoiceis reallywell-produceddeviatesfromthe

pitch.Theabilitytosing amelodyproperlydependsuponthe

establishmentoftensiononallthe musclesusedinphonationat

themom e n t o f a t tca

breathista

w i t hu ot "

, a n d t h e h lod i n g o f t h e t e n s in ou n t i l t h e n e t

en,plustheabilityto varythedegreeoftension

give

withtherisean d f a l l o f t h e p icth .

ThroatyTechnicandS

lurring

Thethroatysingerhasnosuch problem,becauseheisonlyblow-

ingairthrougha constriction,andnochangesinthe co-ordination

ofthelaryngealmuscles,nor"

tuning

ofthepharyngealresonance

cavitiesforthepitchand vowel,occur.Becausetheregistrationis

mi

ed,thelaryngealco-ordinationforpitchdoesnot changeand

hecan,th e r e froe , s l u,r"

g i v ,e

cho

e - o f f t h e t o n e a n d d e srto y t h e

melodicline,withcheapunmusicalwhinesandwails,as muchas

heli

128

es,andhecango onwailingatwill.The constrictionisalways

   

                                                                                        





 



    

t h e r e ad na s l o n g a s h e h odl s o n t o i t h e c a n g o o n m a

a n d c a li ln g i t s i n g ing.His"

art

i n g a n o ie s

r e u i r e s n o tceh n i clas

performancedemandsonlytheinterpretiveabilityofthe"

s i n g re.

o l o n g a s h e i s s aits f i d ewithma

illandhis

torch

i n g h i s e mtoi o n lae f f e tcs

merelybyslurringintoandout ofthetoneandby fadingtheloud-

nessinandout hehasnothingtoworryabout.

uilib ri umLarn y

Theestablishmentofe

thee

,Tongu e , T h oar

uilibriuminthelaryn

dependsupon

ualizeddevelopmentofthearytenoidandthyroidmuscles.

Theestablishmentofe

therm o r e , t hsie

ur-

u i l i biru m m utsb e e s t a b lishd enotonlyj neach

partinvolvedinphonation,i.e.,thora

betweenthesepartsindividually.(

ofthebra e t h s h olud n o t e

,laryn

eeF

c e e d t htar e

andtongue,butalso

ig.1.)Thus,thepressure

u i r e d b yht e g i v e ntsa t e o f

developmentofthelaryngealmuscles.Breathinge

develope

  

uilibriuminthethroatdependsuponthe

developmentandproperco-ordinationofthetonguemuscles.F

erciseswhich

cessivestrengthinthebreathingmuscles,beforethe

laryngealandtonguemuscleshavebeendeveloped,areharmful.

ctually,thismusculardevelopmentoccursj

Whileitisthee

cessofe

ustthroughsinging.

p i r aot r y o v rei n s p i rtao r y t esni o n t h ta

buildsupthepressureof thebreathagainsttheclosureof the

glottis,theproblem,fromthestandpointofthe singer,restspri-


marilywiththeq

uestionofholdingtheproperdegreeof inspiratory

tension.Thisbalanceofe

piratorywithinspiratorytensionfor

phonationdoesnotoccurforany otheract.Thus,theproperfunc-

tionofthebreathingmusclesfor singingcanonlybee

perienced

andattainedbysinging.Nootheract co-ordinatesthebreathing

musclesinasimilar functiontherefore,noformofbreathinge

cisehelpsthesinger

tensionofthee

er-

scontrolofthe breathpressurewhichisthe

motiveforceusedinphonation.S

ingingdevelopstheco-ordinate

piratoryandinspiratorymusclesanddevelops

thesemuscles,inco-ordination,whenphonationisperformedprop-

erly.Breathinge

ercises,performedwithoutsinging,developthese

musclesoutofco-ordinationandarebound tointerferewiththe

properbalancebetweenthem,therebyonlydoingthesinger

technicalharm.

129

                                                                         

svoice

                                                                                                                                                                                                                                                                                           



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

    

                                                                                                                                                                                                                 

BalancedDevelopmentandE nergy

Thestrengthofthelaryngealmusclesmust matchthestrength

ofthetonguemuscles.I

e

ftheopeningactionof thetonguemuscles

ceed sthestren g t h d ee v l o pd ei n t h e l a r y n

( a n d t hsis o m eitm e s

occursintheprocess oftrainingthevoice)the breathe

willsudenlyb ecom ee

pulsion

c e s svi e . T hsio c c u r s aslo w h e n n ae

c e s s iev

breathpressureisbuiltup. Undersuchcircumstancesthepupil

mustbeforcedtoproduce atonewhichisloud enoughtomeet

t h e " o p e nni g .

f h e c a n d o t h i,st h e p r o g r e s s w il lb e v e r y r a p id,

becausethepharyngealimprovementismetandestablished.I

failstom eetthe"opening, withthee

t r a e n reg y r e

lost,andprogresswillceaseuntil hecanbepersuadedtoe

himselftothenecessarydegree.A

fhe

uired ,itis

ert

stheintensityrisesfrom soft

( P . .P) u p t o t h e n om r allou dness(M .

. ) t h e b r etah e

p u l s in og o e s

down,becausetheglottisclosesmorecompletelywhenthetechnic

i s c o r r e tc. I

t i s f a r e a s iref o r t h e p u pl it o s i n g a f u l l t h anasoftton e,

providedthathisthroatis notconstricted.Thus,theloudertone

whichmustbeproduced,undersuchcircumstances,re

uiresless

effort,butmoreenergy,thandoesanoverlysoft one.

DevelopmentofBalance

twillbesen e t h e n t h tat h e t e a c h ermustw or

o f t h e t e cn hi c  t h o r a

,laryn

a n d p h ayr n

onallthrephass e

( t o nu ge )  s i m utla n eu os l y ,


andendeavor,tothebestof hisability,tok

o f t h e s eht r e e p hsae s i n l i n .eI

eepthedevelopment

naccom plish ingthisen dhiswor

is

simplifiedandimmeasurablyabettedbytheuseofthe physical

  

manipulationswhichhavebeendescribed.Thus,whendevelopment

ofthelaryngealmusclesisindicated,he shouldusethemanipula-

tionsdescribedforwor

ingonthesemuscles.W

                                                                                                                                                                                                                                                 

henthetongue

musclesneeddevelopment,heshouldusethetongueinstrument.

W h e n i t i s t h e b r e a tihn g m u s lce s w hci h s h o udl b e w o r

edon,he

canhelpthisphaseof thetechnicbydoingeverythingin hispower

tostoptheparticularmovement,or"

lac

of"

hold

give,

whichindicatesthe

b y t h ee smuscls ea n d w h i h c i s c h a r a tce r itsi c o f t h e

p u p i l wtih w h o m h eiswor

ing.Hehastoturnfromon ephaseto

t h e o t hrea s t h e p u p i l por g r esse s . F i r s t i t m a y b e t h e l ayr n

re

uiresw or

which

,thenthetn o g u ,et h e n t h e ber a t hni g , a n d t h e s e t her e

p h a ssem a y o c c u r i n a n y o r d rea n d k

eepchn a g i n g i n te hi r r e

uire-

ments..Theprocessisnowverydirect andfarmoreefficientthan

ithaseverbeenin thepast,butit isnoteasy,andthe teachermust

notonlyunderstandhowtohandlethe problem,buthemustalso

b e w i l lni g t o w o r

130

v e r y h rad .









 

     

   P u r e R e g i s t r tai o n E s s e n t i a l

tisabsolu telyim p o s sbi l e f o r t h e t e a c h ret o m a

provementwhateverinthepupil

eanyrealim -

svoice,unlesshethoroughly

understandstheprocessofpurifyinganddevelopingtheregisters.

Noopeningofthethroatis

possibleifthelaryngealmuscleshave

notbeendeveloped,andthiscannotbe accomplishedwithoutthe

p r o p rew o r

o n r e gsit r a toi n . W o r

onthereg i s t esra l o n e d e oslittle

o r n o g o o d i f i t i s n toa c c o m panid ebywor

laryngealpharyn

o n t h e o pn ei n g o f t h e

(th etongue),andbothareunavailingif the

s i n g rei s n o t t a u gtht o e s t a bi ls h t h e " h o l d

onhisbra ethin g m u s c lse

insteadofblowingairthrougha constriction.

bsolu t e C o - o r d i n aito n F i n a l S

t a g e o f P ref e cito n

nthefinalanalysis,whenthe technicisperfect,theregistersare

absolutelybalancedandthelowerregistercanbe carriedupover

                                                                                                             

almosttheentirerange thus,agreatwomansingercan produce

evenahighC

simo.A

inthelowerregisterwhenshe wantstosingfortis-

     

tthesametimethe registrationiscompletelyco-ordinated

andthethroatis heldopenatallintensities overtheentirerange,

whichcoversatleastthreeoctaves.O

fcourse,theentiresystem

ofmusclesusedinphonationis completelybalancedandine

librium,andallinterferingandconstrictor musclesarerela

ui-

edand

outofaction.Thisis anidealconditionwhichis foundonlyinthe


caseofasupremelygreatsinger.C

arusoandDestinnaretwoof

thefewsingerswhoevenapproachedthisstate ofperfection.I

trainingthepupil

goal.Thepupilwhoattainsa reasonabledegreeoftechnicalpro-

ficiencycanbecomeaveryfine artist.

131

n

svoicetheteachermust rememberthatthisisthe

                                                                                                                                                                       









    

h a p tre6

TH

T

Nec

 

N

M u s cel s

When thevoiceisproducedproperlythe musclesofthenec



a r e r e l a e d . T h e gol t t i s i s c lsoe d b y i t s o w nintrin s i c m u s lce  t h e

arytenoid(themusclewhichappro

imatesthearytenoidcartilages

a n d t h u s col s e s t h e g l o t tsi s e e F

i g . 2 F )  a n d t h e t h r otai s h e l d

 

openbymeansofthetonguemuscles.

When thevoiceisthroaty,the arytenoidmuscledoesnotcome

intopropertension

                                                                                                                      

th erefore,theglottisdoesnotclose byitself.

Toproducesound,thisclosureis broughtaboutbymeansoftension

o n t h e m ucs l e s o f t h e n ec

andj

aw.

Theprincipalmusclesofthe nec

whichcomeintoactionin

throatysingingare:

1.S

terno-mastoid

2.S

terno-hyoid

3.S

terno-thyroid

4.Thyro-hyoid

5 . O m o - yb odi (

ig.2

eeFig.2

.)

Musclesofth eNec

Theillustrationontheoppositepageshows theprincipalmusclesofthenec

whichcomeintotensionwhenthetechnic isthroaty.


Notethefactthatthe sterno-mastoidmusclesareattachedtothemastoid

boneand,whenintension,pressagainstthe laryn

,therebyprovidingamost

efficientconductionofsoundtothe innerear.Thegreaterthetensionon

thesemuscles,themoreefficiendytheywillact asconductorsofthesound

directlytotheear andalsothethroatierthetone willbecome.

W h i l e t h i s i s t h e m otsp r o mni e n t o f t h enec

m u s cel s , t h e f u nctin oofthe

o t h e r nce

tisprobab lyj

m u s lce s e n u m eratd einthete

t h e e s tb al i s h m entofcon s t r i cito n a n d fros

u e e zni g t h e l a rny

verylargenumberofcombinationsoftensionson thenec

ustasimp ortan tfor

. T h e r e rae a

muscleswhich

arefoundtooccurin practice.

Themusclesofthenec

arebroughtintotensionbecauseofmovementsof

thehead,whichshortenthenec

,andbecauseoftensionon thechest,which

    

hasbeenraised,andhas,therefore,servedthesamepurpose.Theyc analso

bebroughtintotensionthroughtensionon thej

hasben e"

set

aw,especiallywhenthismember

i n t h e m i dlde p o s iito n . O n e , o r m o r e , fot h e s e a tci o n s awl a y s

occursinco-ordinationwiththeproductionof athroatytone,andveryoften

theyalloccursimultaneously.

Becauseoftheattachmentsofthesemuscles,it willreadilybeseenthat

theycanbebroughtinto tensionfromabove(headandj

(chestandshoulders),orboth.

132

aw),frombelow

                                                                                                                                                                                                                                                                                    



 



    


   

 







     

          





 

i g u r e 2 7 so hw s t h e n c e

                                            

m u s cel s o f a y o u n gsingerw hohad

studiedforseveralyearswitha typical"

radiotechnic

teacher.This

teacherhasbeenresponsiblefornumerouscasesof nodulesonthe

vocalcords.O

neglanceattheillustrationshould indicatej

i g . 2 7  O v e r - d e v leo p e d N ec

ustwhy

M u s cel s o f a B a dyl T r a i nd eS

inger

Notetheprominenceofthesterno-mastoidmuscles.Note,also,thehead,

whichhasbeenpulledin andbac

tensd e.Thej

awisloc

e d i n t h e m i d l e p o stii o n , n a d t h e m otuh a n d l i p s aer

setforthemouthresonancead

TensiononNec

,andthechest,which hasbeenraisedand

ustment.

MusclesC ausesNodules

Thesehighlydevelopednec

musclesperformthefunctionwhich

s h o udl b e l o n g t o t h e a r yet n o i d m u s c l .e(

e e F i g . 2 F . ) T h e g l tot i s

isnotclosedby meansofthismuscle,becausethesinger is.blowing

a i r , a n d te ha r y t n eoidmu s c l e r elfe

lyrela

eswhenth e b r e aht i n g

actisinitiated.Theclosure isthenbroughtaboutprimarilyby

mean s o f t e n s in oo n t h e n e c

m u s cel s . A n y s u c h e

t e r n lac l o s uer

bringsthevocalcordstogetherunevenly,sothat theyaremore

tightlypressedtogetheratonepointof theirlengththanatanother,

becauseofthise

ternalpressure.Therefore,theyaremoreorless

boundtorubtogetherat oneormorepoints.Thisfriction ofthe

unevenlyappro

imatedvocalcordsoftenbringsaboutthe forma-

tionofnoduleswhichareactually corn-li

egrowths.Thegreater


thedevelopmentofthenec

mus cles,thegreaterthedangerof the

formationofnodulesbecomes.

134

                                                       

     

                                                                                                                                                      

 

 

 

   

   ureofNod ules

Nodulescanbecuredveryeasily

                                                                         

simplybytrainingthevoice

properly.Thepurificationofthelowerregister,the openingof

thethroatandthereleasingof thenec

muscles,plussomesteps

towardsthedevelopmentofpure,balancedregistration,willsoon

alleviate,andultimatelycure,thiscondition.W ithoutpropertrain-

ingnodulesmaydisappear,ifthesinger goesthroughaperiodof

absolutesilence,buttheysoonrecurif thetechnicisnot changed.

orc i n g foV o i c e a nd N e c

C o n t r ol

When thebreathisblownthrougha constrictionbroughtabout

b y t e niso n o n d e e v l o pd en e c

m u s lce s , t h e sni g e r i s " f o r c i n g

his

v o i c .eT h e h a re dr h e b l o w stheair,th emorehe"forces.

T h u s ,ht e

productionofloudtonessungwith thenec

breath-

c o n tor l

techn icisalwy asi n

u r i osu. A

produ cedinthism anneris"forced,

-controlled,"

     

s a m a t t e r o faf c t , a n ytone

                                                                                                                                                                                                        

n o m a tet r h o w s otfi t m a y b e .

orcingisnota matterofintensity,butofblowingair againsta

laryn

w h i c h i s bien g s

ueezd ebythenec

m u s lce s . W h e n t h e

voiceisproducedproperlyit isbeneficialforthesinger toproduce

f u l l , fer e t o n s e. O n l y t h r o a t ,yc o n s tirc t e d sni g i n g i s " f o r c e d .

True,

whenthethroatysingerswellsthetone heforceshisvoicemore

a n d m oer w i t h e a h cincres ae i n l o u d ness."O

pen,

f r e e ,uf l l -ht r o aet d

singing,ontheotherhand,benefitsand developsthevoice.


tismostimp ortan tforthesin g e r t o r e ai lz e w h ta"

is.C

f o r cni g

onstrictedsingingisgenerally,basically,verysoft."

technic

r e a lyl

adio

singersarebarelyaudible,buttheyare forcingtheirvoices

witheverytonetheyproduce.C

aruso

svoiceimprovedeveryyear

hesangoutloudpractically allthetime,andhe wasalwayssinging.

a v i n g foV

o i c e U n e c essa r y wtih C o r r e tcT e c h n ic

Thereisaveryfoolish notioncurrenttotheeffectthat thevoice

mustbe"saved. I

s o m a n y hgi h C '

thasevenb e e n s a i d ta ht t h e t e n orcansingj ust

s a n d t h a t we hn h e h a s e

h a u setd t h e s u plpy h e i s

throu g h . T hsii s o n l y t o o t re u w h e n t h e v ioc e i s t h r a oty

produ c e d p r oe pr l y , h ecansingasmn ayasheli

goodtosingthem.S

fitis

esanditdos eh i m

ingingisanatural function,ifitis performed

inatechnicallycorrect manner,andthevoicedoesnot,undersuch

circum s t a ne cs," wearou t.

v e yr q

135

uic

f t h e v o ie cisabusd e,it"

w e asro u t

ly.

                                                                                                                 





   

    

    terno-mastoidMusclesandThroatiness

eturn ingtoFig.27:Noticeth ee

t r a odr i n ayr d e v eol p m n etof

thesterno-mastoidmuscles.Thesemusclesarealwaysintension

whenthetechnicisthroatyand theyarethemostprominentofthe

i n t efre r i n gnec

m u s lce s . T h eot n e w a s " w h i t e ,

thin,sh rill,th roaty

andpinched.Therewasalsoa pronounced,rapidtonguetremolo.

Undernormalsingingconditionstheheadwaspulled downandin,

andthesemusclescameintoa highstateoftension,whichtension

i n c r esae d a s t h e ptic h a s c n eded.h T i s g i r l wsaa "

s

uea

v o ie c

c o l oar t u r .aT h e v e r y h i g h t o nsew e r e s u n g i n a n a b s oul t e " s

voice

withthema

uea

imumpossibleconstrictionandsometimesthey

evensh u t o f f a lot g e t h er.I

n t h i s s o r t o fet c h nci t h e l a r y n

ands

u e e zd et o g e te hr b y t h ee smuscls ei n c o n

rigidj

awloc

israisd e

u n c toi n w i t h a

.Theydv ee l o pn e o r mu os s t r e n gthandintim ebecom e

soenlargedastobe noticeablyprominentevenwhenthesinger

isnotphonating.I

tisinterestingto notethatpracticallyanyvoice

eventh edeeps et c o n tar l t o  c a n b e m d aetosoun dli

voice

ea"

s

uea

coloratura,ifsufficientconstrictionofthistype canbeestab-

lished.Thisis,unfortunately,notverydifficultto accomplish.

eductionofS

terno-mastoidTensionbyManipulation

Thefirstprocedureindealingwith thisvoicewastotry torelease

thecontrolofthesesterno-mastoidmusclesbyholdingup the


s i n g re

thee

shead.h T e e f f rot r e

uiredtoc ac o m p l i s h t hsie n d , a g ian s t

tremelystrongpullofthesemuscles,wasalmost incredible

but,whenitcouldfinallybe done,avastlyimproved,farlessthroaty,

pinchedtoneimmediatelyresulted.F

oralongtime itwasim-

-

                                                                                                                                                                                                   

possibleforthisunfortunategirlto holdupherownhead,however

     

hardshemighttryto doso.

erlowerregisterwascompletelyabsent.H

owever,withthe

aidoftheth yroidm anipu latin o,the"pullingin

ofthisreg isterw as

notdifficulttoaccomplish,althoughit wasalongtimebeforeshe

c o u l d por d u c e n a y t hni g o t h ret h a n a v e r y " w h i t e ,

registrationwasnotmi

t h i n t oe n. T h e

edbecauseshehadalwayssungvery softly.

c e s svi e l y Dor p p e d Lray n

andNec Muscles

W h e r e t h e t e ah c e r i n s itss u p o n a d r p o p e d l ayr n

,thes

u e e zni g

actionisbroughtaboutby meansofthedevelopmentoftheother

nec

musclesmorethanbythesterno-mastoids.Therearecases

wherethemusculardevelopmentinthelowerpartof thefrontof

thesing er

13

snec

issop ronou ncedth atitloo

sli

e a b a d g o i t re.

                                                                                                                                                   

                                                         

 



    

      ThyroidManipulationandE

Theentirelaryn

cessivelyDroppedLaryn

shouldnotdescendwhenthethyroidcartilage

ispulld edown.I nfact,w henthemu s c l e s aer s o r e l a

laryn

edthatthe

d o e s dor p w h e n t h i s m a npi u l aito n i s a p pi le d , wro

on

thegenio-hyoidmuscleandtonguemusclesisindicatedbefore the

thyroidmanipulationcanbeemployed.Thus,thehyoidbonemust

beheldup,as described,andthetongueinstrumentused,until

thetongueandhyoidboneassumetheir properposition.E

venthen,

thethyroidmanipulationmustbeemployedcautiously,andthe

pressuree

ertedmustneverbegreatenoughto pulldowntheentire

laryn toanymar

e d d e ger e .

Thesolepurposeofthe thyroidmanipulationisto"

pullin

more

thyroidtension,i.e.,tohelptheintrinsic, laryngealmuscles,notto

p o s iito n

t h e l a rn y

i t s e l. fT h i s i s a c c m o p l ihse d b y m en as o f w o r

onthemusclesofthe tongueandhyoidbonefromwhichthe laryn

issuspended.

ThroatyS

inging

Twoformsofthroatytechnicmanifestthemselvesinsomewhat

differentdevelopmentsofnec

s

mu scles.Thefirstis basedupon

u e a v o i c e , o r s h r i l l , " w h i t e , r e l a t i v eyl s o f t s i n g i n g w iht t h e

laryn

raisd eandtheton guedrw a nupandbc a

secondisbaseduponratherloud, thic

mi

, a n d t e ne sd.The

,orverythroaty,loud,white


ed-rg e i s t res i n g i n g w i t h t h e l ray n

tongu edropp eddownn adbac

n b o t h f om r sthej

eeF ig.12B&

a w i s p r a tci c a lyl a l w y as l o c

C.)

edinthemidle

a r e r e l a e d a n d a r e ntob r o u g h tintoten s i o n i n c oo- r d i n ation

withphonation.Thebetterthetechnic,theless prominentthenec

musclesbecome.

ead,ChestandNec Muscle s

Thenec

musclescomeintotensionwhenthechesti sraisedand

thehed aisdroppd e,stuc

out,pu l l e d i n o r i n lci n e d bca

W h e n i n t e n s i o n te hy a c t ulal y s

closetheglottisbye

u e e z e te hl a r y n

t o o f a.r

, a n d m eh c a n ia clly

ternalpressureinvaryingdegreesoftension,

accordingtotheamountofthroatiness(antagonistictension)

present.Theproblemisthento rela

thesemuscles,whilethegenio-

glossusmuscleholdsthetonguefirmlyin position,andthegenio-

hyoidmuscleholdsthehyoidbonein position.Theeliminationof

thistensiononthenec

137

 

dropp e d t o o f raa n d t h e

, a n d t e ne sd.(

position.O fcourse,whenthetechnicis correct,themusclesofthe

nec

                                                                                                                                                     

musclesisastraightforwardmatter,but

                                                                                                                                 

                                                                                                     





    

bynon^

eansaneasyone.Becausethesterno-mastoid,sterno-hyoid

andthesterno-thyroidmusclesareattachedtothe chest(see

ig.2

) , a n y r asii n g o f t h ismemb e r t e n d s t o so hr t e n t h enec

and

throwthemintoaction.Thisprovidesas vitalareasonforthe non-

involvementofthechestinphonationas theonementionedinthe

discussionoftheproperactionof thebreathingmuscles.F

more,anydownwardorbac

urther-

wardmovementofthehead,which

alsotendstoshortenthe nec

,bringsthesemusclesinto action.

ctually,bothmovementsthoseofthechest andheadoccur with

throatysinging.Thechestmustnotbe raisedandtheheadmust

beheldup ,sothatthenc e

t r a c toi n o f t h e n c e

isaslongasps os i bel , b e c u asethecn o-

m u s cel s s h o ret n s t h e n c e

.Neith erthehed a

northechestshouldever bemovedduringphonation.W henthese

musclescontract(comeintotension)thehead ispulleddown,or

thechestispulled up,orbothmovementsoccur.I

tisimportantto

notethat,ifthehead israised,thesemusclesrela

bac

t o o f a r o r sut c

eadandSpineA

but,ifitis held

out,th e y a r e t hor w n i not t e n s i n o.

lignm ent

W h e n t h e h e a d i s t itle d t o o f rab a c

w a r d i t f rom s a c u r a vture

atthetopof thespine.Thiscurvatureis generallybalancedwith

a n o te hr c u r v tau r e i n t h e s m allofthebc a

.(

e e F i g . 2 4).I

seenthenthatthereis aphysiologicalassociationbetweena"


ofthebac

m u s cel s a n d a t i l tni g b a c

ofthebac

twillbe

give

wardofth ehead.h Te"

musclesintoaction.This

gestureisthenassociatedwiththe headmovementwhichserves

thesameend.Thus,thedoublecurvatureof thespine,atthebac

andinthesm allofthebc a

, w i l l t h rw o thenec

m u s cel s

intotensionfromtheirupperand lowerattachmentsandatthesame

timeinitiatethebreathingact

blowing.Thisoftenoccurswiththe

throatysinger,andtheteachermustdo everythinginhispower

toinhib itbothmv oemn ets,or"gives.

tisinters et i n g t o ntoe t h e

co-ordinationoftheheadmovementwiththebreathingaction,and

toobservethefactthat,becausephonationis asingle,co-ordinated

act,suchco-ordinationsarealwaysaptto occur.

omesingers(especiallycoloraturas),whosetechnicise

tremely

throaty,notonlypulltheirheads downbutalsopullthemin and

t o o n e s i d.eA

nysuchmv oemn etise

t r e mley h a r m ful

itnotonly

bringsthenec

musclesintoahighdegree oftension,butitalso

pullsthelaryn

outofpositionandtilts itsideways.Thecontrolling

138

   

give

(breathing)musclesisassociatedwithamovementof

thechest,whichtendsto bringthenec

ofthenec

                                                                                                                                                                                                    

                                                                                                                                                                                                                                                                   

nec

mu sclesarethenused unevenly,andtheintrinsiclaryngeal

musclesareemployedinadistressinglydistortedmanner.

Theheadmustbeheld erect,perfectlycenteredandabsolutely

stillduringphonation.

ela

a t i o n foN e c

M u s lce s E s s e nita l

                              

erethen,isoneof thefundamentalphasesintheattainmentof

a p r o p ret e c h n i .cT h e m ucs l e s o f t h e n ec

rela

e d . T hsir e l a

mustbepu t o u t o f a c toi n

edcond itionofth enec

upontheassumptionofaproper headpositionincon

unctionwith

anabsoluteinhibitionofanymovementwhateverofthehead,and

alsouponthedropping(notforcing down)ofthechestand

shoulders,incon

unctionwiththeinhibitionofany tensionon,or

movementof,thesemembersduringphonation.I

w i t h a r e laes e o f t h e m uscls eo f t h e j

aw.A j

degreeoftensiononthemuscles ofthenec

    

m u s cel s d e p n edslarg ely

tisalso associated

awloc andahigh

ne arlyalwaysoccur

simultaneously.

139


                                                                                                                     



  

      

h a p tre7

TH E

W (MA

N

PULA T

Notonlydoesthesettingof thej

amouthrs eo n n acead

N)

awhelpinthe formationof

ustm e n t a n d t hree b y r el fe

t h r o ta, b u t a lo stensin oonthej

l y c l o s eht e

awtend stobringthen ec

m u s cel s

intoaction.

Dropp ingtheJ

aw



t i s i m p o rat n t t o n oet t h a t t h e j a w s w i n gsdownm oreorless

perpendicularlyuntilacertainpointof openingisreached.F

openingisthenattainedbymovingit downandbac

ofthej

awoccu rsthenintw ophass e. F

e c o n:dD o w n a n d b ac

middlepositionandma

Thenec

.Theopening

  

i r s t : dw o n t o a c e r t ian p o i n.t

.Thepup ilmustbeab l e t o g o t h r og uh t h i s

ethecompleteopening,ifhe istoputthe

awoutoffu nctin o i n p h o n tai o n . (

M i d del o r L o c

P o s iito n a n d N c e

                                    

e e F i g . 2 8).

M u s cel s

musclescanbebroughtintotensionvery easily,by

mean s o f t e n s in oo n t h e j

aw,wh enitisinthemidle,orlc o

ed,

position.When itiscompletelyopened,itis almostimpossiblefor

thesingertotensehis nec

m u s cel s o f t h e j

aw.I

musclesbymeansoftensionon the

  

t i s n o t n e a ryl a s e a s y t o t n esethenc e

musclesinthismannerwhenthe

i n t h e m i dlde p o s iito n . (

awisnearlyclosed,aswhen itis

                                                                                  

e e F i g . 2 9).




tisimportantto observethephysiologicalrelationshipbetween

thetensingofthej

m u s cel s . I

awandthebringinginto tensionofthenec

twillbesen e t h a t t h e s tet i n g o f te hj

ofthevowel(i.e.,mouthresonancead

logicallywiththenec



urther

a w f o r t h eof r m aito n

ustment)associatesphysio-

tensionemployedinthroatysingingand

viceversa.

notherimportantpointariseswhenwerealizethat itisfrom

t h e m i dlde p o s iito n o f t h e j a w t h a t t h enec

t e n soi n c a n m otsr e a d iyl

bedevelopedanditis alsofromthispositionof thej

awthatmost

ofthemouthvowelsareformed.

140

      

                                                                                                                                                                                            

  



     

ig.28ThePrp oerlyOpenedJ aw

Thisillustrationindicatestheproperpositionof thej

awandlipswhen

completeopeninghasbeenattained.Thesingershouldalwayseithersing

withhismouthalmostclosedor withitwideopenin thisposition.

Notethatthecornersof thelipsaredrawntight andthatthemouthis

moreorlessrectangular.S

omeoftheteeth,upperand lower,areshowing.The

awhasbenpulld edownan dthendow nandbac

bac

.Thisfin a l d o w n ad n

g e sut r e i s e s s n e t i a.lT h e h e a d i s rias e d a n d i s ntos t u c

droppedorthrownbac

out,pu lledin,

.Thereisno pursingorspreadingofthe lips.

t i s i m p o sisb l e f o r t h esingertop r o d ue cfree,op entons eu n t i l t h e j a w h a s

beencompletelyreleasedinthismanner.


                                                                                                                                 

   

 

  

ig.2 9  M i dd l e ro "

Thisshowstheworstj

Loc

ed

P oistoi n o fht e J

aw

awpositionwhichthesingercan assume.H erethe

awhasbeendroppedintothe middlepositionandnotpulleddownand

bac

Thej

. N o t i c e ta ht i t i s s o m e w hatstu c

outandisinahig h s t a t e o f tn es i o n .

awdropseasilyintothis positionanddoesnot"

loc

"

t e n soi n u n t i l p h o n aito n h a s b e n i n i tai t e d . I t i s f r o m t hsij

orcomeinto

a w -ol c

thatallth e

worstformsofconstrictedtechnicemanate.

r o m t h i s j a w -ol c

, t h e m u s lce s o f t h e n c e

c a n m otse f f i cei n t l y b e b rough t

intoten s i o n . J a w t r e m o l o,se t c . , m e a n tae p r i mrai l y f r m o this" loc

p o s iito n o f t h e j a w . T h e n ec

ed,

m u s cel s c a n n o t b e a c t utae d f r o mht e j

m i d del

awwhen

itisfullyop enedinth e m a n n res h o w n i n F i g . 2 8 .

TongueandJ

awLoc

(MiddlePosition)

t i l l o n e oht e r p o itnb e c o m e s a p p rae n t i n t h i s cn on e cito n : R e l a

a-

tionofthetonguemusclesis associatedwiththismiddleposition

intowh ichthej

todrawbc a

       

a w d r ospw h e n i t i s r e l a e d . H e n c e , t h e t o n gueten ds

(upordow n ) , a n d c lsoe t h e t h r a ot,wh enthej

setsinthem i d d l ,eo r l o c

p o s iito n . T h us,whn ethej

                                                                                                                            

aw

awisdroped

intothemiddlepositionthetongue isapttorecede intothethroat

andthenc e

tongu eandj

m u s cel s c o m e i n toactin o , s o t h a t rlea

awatthemm o e n t o f atta c

a t i o n fot h e

m a n iefs t s i te slfinthe

establishmentofallthetensionsnecessaryforabsoluteconstriction

(throatysinging).


awTrem olo

Thecompleteopeningofthej

W h e r e t h e p u p i l hsab e e n s u b

awisoftendifficultto accomplish.

ectedtoacu o r s e o f i no c r r e tct r a i n -

i n g , h i s j a w m a y hvae b e c m o e v e r y rgi i d l y l c o

e d . T hsil o c

n e a ryl

alwaysoccursinthemiddleposition.To findthisdangerousmiddle

     

p o s iito n , t h e j a w i s m e r e l y r e l a e d a n d d r p o p e d a s f raa s i t w i l l g o

w i t hu ot a n y e fof r t  h u n g . h Tus,th erela

eddropingofthejaw

m a n iefs t s i te s l f i n p h oa nt i o n a s tn es i o n i n istw o r s t f rom  j

142

awloc

                                                                                                            

.

                                                                                   





   

    

 tisfromthis middlepositionthatallofthe mostpronouncedand

h a r mufl j

awloc

s e m a n tae . T h e m ostdisg area eblej

(tetanicflutterofthej

awtrem olo

aw),amostperniciousfault,alwaysoccurs

fromth e m i d d l,eo r l o c

e d , p oist i o n .I

t i s o f t e n a c o m pn ai e d b y a

tonguetremolo,becauseitusuallystartsas atonguetremolofrom

whichthetetanictensionspreadsto thej

tosha

e.S uchton gueandj

awwhichthenalsostarts

awtrem o l o s , i n a por n o ucne d f o r m ,may

produceapitchflutterof afifthorevenmore.This fluttermay

beasslowas threeasecond.I

a n d i s v e r yni

tismost disagreeabletolistento,

uriou s t o t h e v o claa p p a r tau s . I t i n d i c aet s e

throatinessaccompaniedbyintensej

awandnec

trem e

tensionaswell

astensiononthetongue muscleswhichareantagonistictothegenio-

hyo-glossusmuscles.I

andnec

tisalwaysaccompaniedbye

t e n soi n a n d otfe n , b u t n otalwy as , b y m i

tremethroatiness

e d r e gsit r aito n .

awandLip s

n a l l t h e s e csae s , t h e j a w m u s t b e c o m pel t e l y rlee a s d eopened

orthepup i l c a n n e v rel e a r n t o s ig n. W h e n t h e j

thecornersoftheli psaretight.Thistightnessis

completej

a w i s f u lyl o p e n d e,

onlyindicativeof

awopeningwhenthelipsare slightlyraisedofftheteeth

andnotsp r e a d o r oe v r - pu ot e d . (

e e F i g . 2 8).T h e y c a n b eitg h t n eed

bymerespreading,butunderthesecircumstances,thej

awisnot

fullyopened.Thisgestureisgenerallyharmful,becauseit tends


toloc

thej

awandsh apethemu othfora"white,

(thra otyton e).(

m o uht e d v o w el

e e F i g . 3 0).

m:

ig.30I

n c o r rcet M o u t h o P s i t in os

Thisshowsth espred alipsandloc

e r a lyl p r o d u e csa"

w h i t,e

edj

awoftheth r o a t y sni g e r w h ogen-

o r s h r il l, t h r otay t o n e . N o t e t h tat h e j

orlessin themiddlepositionandthelips arespreadandshapedforthe

vowel.Thispositionofthej

correct.

143

                                                                                                                                                               

awandlipsneveroccurs whenthetechnicis

awismore

                                                                                                        

    

                                                         



  



     

ig.30I

n c o r rcet M o u t h o P s i t in os ( c o nitn u e)d

BThisshow sthepursd elipsandlc o

edj

isthroatyandwhogenerallyproducesa thic

a w o f t h e sni g e r w h o s e t e cn hi c

,throatytone.Notethatthe

lipsarepursedandthe cornersdrawnin,andthatthe teethare,inthis case,

completelycovered.I

nsomecasestheupper lipcanbedrawn upbymeans

ofthenoseandsometeeth mayshow.Thispursedpositionofthe lipspulls

inthechee sandform s a m o u t h c aivt y f o r t h e p r o d u tci o n o f a t hci

tone.I



, t h r o ayt

tneveroccurswhenthe techniciscorrect.

ig.30I

H

n c o r rcet M o u t h o P s i t in os ( c o n lcu d e d )

erethej awisloc

positionofthelipsand

e d a n d t h e cron e r s o f t h elipsarepu lleddow n.This

awisalwaysassociatedwitha horriblythroatytone.

saresultof thismouthpositionverygreattensionis inducedinthemuscles

ofth enec

A

.

largevarietyofwrongj

t h e s e fu or c a s e s (ht e j

awandlippositionscould beillustrated,but

awloc

e d i n t h e m id dl e p o stii o n , te hs p r e a d lpi s , t h e

pursedlipsandtheli pswiththecornerspulled down)indicatethefour

 m o s t f r e u e n tyl e n c o u n t e rd et y p e s o f j a w -ol c

employedwhenthetechnicisthroaty.O

andmou t h -o vwelps oi t i n os

    

fcourse,manythroatysingersem-

ploymorethanonej

awsetandlipsposition andinvirtuallyeverycaseof

t h r o tay s i n gni g t h e j

awisfoun dtobeloc

                                                                                              

ed.


 



                                                                                                                                        

  



     



Thereare,ofcourse,analmostinfinite numberofdifferentj

                                                                                                                                                                                                                                                                                                                                                                    

aw

andlippositionswhichoccur inco-ordinationwiththeproduction

ofathroatytone.Thedefinitelyspreadand thepronouncedly

pursd e , o r p o uet d , l i p s o c c u r m otsf r e

u e n tyl . A n o t h erlip"

set,

whichisoftenobserved,isassociatedwitha mouth,vowelposition

inwhichthecornersof thelipsarepulled downandthelowerteeth

areeithercompletelycoveredorveryprominentlydisplayed.(

ee

ig.3 0C.)

ormostofthemiddle tones,andwhenthemusicmovestoo

rapidlyforthesingerto beabletoopenhis

awcompletely,a

relativelyclosedpositionshouldbemaintained.I

closedposition,thej

nthisrelatively

awisdroppedslightlyandthe lipsareheld

awayfromtheteethupper andlowerbut theyshouldnotbetoo

obtrusivelystuc

out,poutedorspread.Thispositionis shownin

ig.31.I nboththeop enandcls oe d p o stii o n s (ht e o n l y t w oposi-

tionswhichthesingershouldassumeduring phonation)there

shouldneverbetheslightestsense ofshapingthelipsor chee

orsettingthej

s,

awfortheresonationofthe vowel.

fthevoiceis pharyngeallyresonated,thetoneneednotbecome

throatywhenthej

awstopsinthemiddle position.H owever,this

positionisalwaysdangerous.Thisisan advancedstageofdevelop-

ment

atanyearlierstage,themiddleposition ismostharmful.


ctually,oneneverseesareallygreat singerassumethemiddle

p o s iito n o f t h e j a w , o r " s e t

h i s l i p s frot h e r e s o n a t i o n fot h e v o w el

duringphonation.

Thej

awcanbecompletelyopenedonlywhenthe lipsareopened

a n d n e iht e r s p raed n o r p o u ted.I

n v esre l y , i fht e o p e n ingofthej

aw

isabsolutelycomplete,thelipsmustperforceassumea virtually

correctposture.

Thelipsandchee

scontrolthedistanceto whichthej

awcan

beopened.W henthelipsare spreadandthecornersofthe lips

aredrawn,orpouted,together,thedegreetowhich thej

awcanbe

openedisdefinitelycurtailed.Therefore,thepositionoftheli ps

isofma

o r i m p otra n c e i n te h"

Dropp ingtheJ

When thej

open ingup

procs es .

aw

awisbeingdropped,theopeninggesture should

alwaysbemadeinonemovement,passingcompletelyandrapidly

throughthemiddleposition.I

tshouldnever,underanycircum-

stances,stoporhesitatein thisposition.Theopeningmovement

shouldbemadedefinitely,asasingle, unhurriedgesture,without

er

145

i n g or "

s tci

ing

onth e w ay d o w n.I

f t h e isn ge r f ial s o t g o rgi h t

                                                                   



 ig.31Correct,RelativelyClosedPs oi t i n ooftheJ

Thesingershouldeitherhavehis

aw

awcompletelyopened,asinF

singwithitrelativelyclosed,as indicatedinthisillustration.I

ig.28,or

tis,of course,

impossibleforhimtoopenhis mouthallthewayandarticulatewhen the

notesareofshortduration.Undersuch circumstancesthej

dropped,butshouldremaininthe positionindicatedabove.A

awshouldnotbe

ctually,the

       

singershouldseldom,ifever,openhis mouthfortheproductionofmiddle

tones.

Notethatthelips areneitherspreadnorpursedand thattheteethare

showing,butthatonlyasmall amountofboththelowerandupper teethis

uncovered.Thelipsareheldawayfromthe teethbutnotundulystuc

Thej

ou t.



awisopenedslightlybutnot farenoughtocomeintothe middle,

loc

ed

p o s ti i n o.

 

 







   


       



                                                                                                                                         

 



    

                                                                   

throughthemiddleposition,heis generallyunabletocomplete

theopn e i n g g etsu r e a n dhisj

awloc

s i n t h i s p o stii o n . Te ht o n e w il l

thenalmostinevitablybecomethroaty.When thej

awisbeing

closed,theclosinggesturealsomust bemadeinasingle, relatively

rela

e d , m oevm e n t . T h e o pn ei n g t e n sionmu stberela

edandthe

awallowedtoclose,practicallythewholeway,witha singlegesture.

P a s sni g T h r u oghJ

awLoc

ometimesthej

awisbadlyarticulatednaturally,orbecauseof

b a d t r ani i n g . I n s u c h a c a s e i t i s vrey a p t t o c a t h cor"

loc

"

set

   

inthe

p o s iito n , u nitl t h e p u p i l s t r e th cesthelig a m etns a n d l e anr s

                                                                                                                                

topassthroughthisposition intocompleteopeningwithasingle

unchc e

e d g e sut r e . I

n s u c h c a sse, t h e c l oisn g g etsu r e m utsb e

madewiththegreatestpossibledegreeofrela

thej

ationespeciallywhile

awispassingthroughthe middleposition.

When pharyngealresonancead

lished,thej

ustmentiscompletelyestab-

awisoutof action,underwhichcircumstancesthe

s i n g rec a n p r o dcue a f r e e , " o p e n

t o n e wtih h i s j

i n c l uidn g t h e m id dl e p o stii o n . I t l o c

awinanyps oi t i o,n

s w h e n t h ree i s a t e n d n ecy

forthesingerto formmouthvowels,i.e.,producethroatytones.

awMan i p u l tai o n

Theteachercanforcea completeopeningofthej

thethum b o f h i s r i g h t hn ad o n t h e p u p il


andfifthfingersbehindhis nec

themiddleposition,bac

awbyplacing

schinandth e t h i r d , fu or t h

andpullingdownandthen,through

anddown,whileheholdsup hishead

withthethumbandmiddlefingerof thelefthand.Theteacher

s h o udl h o l d t h e p u pil

32A&

sfacej

ustbelw o t h e c h e e b o n e.s(

eeF ig.

B.)

 

Theheadmustnot,underanycircumstances,be allowedtomove

inanydirectionwhilethis manipulationisbeingmade.I

tmustbe

heldabsolutelystill,otherwise,whentheteacherpullsthe

downan dbac

cho

, h e m a y p uhst h e h e a d b c a

eofftheton e , b u t a lo s a c t u lal y h u r t t h epupil

slaryn

;

orhe

mayletth epupil

sheadgobc a

tobringth enec

m u s cel s i n t o t n e s i o n j u s t a s d eifn i t eyl a s w o udl

the" down

                                                                                                                                                                                                                             

aw

, a n d t h eer b y n o t o n ly

toofaran dthismoe vmen tserves

movm e e n.tT h e l e f t hn ad m u s t h lod t h e h e d a i n p o s i toi n

firmlyandinhibitanymovementwhateverofthehead.

Theheadmustbeheld upinthepositionin whichthenec

aslongasps os i bel . I

shortenedandthenec

147

f i t i s a l l o wd et o d r o p , o r g o bca

is

ward ,itis

musclestendtocomeintotension.







   

    

ela

                                                                              

e d m u s lce s a r e l og n. T e n e s m u s c lsea r e c o n tar c t e d ,or

shortened.Thus,holdingtheheadupwithhis lefthand,theteacher

canpullthej

awdownwithhisrighthand,by pullingdownand

thendw o nandbac

swingofthej

f i r myl , t h r u oghthe"loc

"

p o s iito n . T h edown

awshouldbestartedratherslowlyand accelerated

asitpassesthroughthe middleposition.While thismanipulation

isbeingmadethepupil

ig.32J

slipsmustbe heldslightlyout,awayfrom

a w M a npi u l aito n

Thethumban dthirdfin g e r o f t h e l fet h a n d a r e p l a c e d j u s t b e lw o the

twochee

bonesandtheheadis raisedintotheproperpositionand held

absolutelystill.Thethumboftheright handisplacedin thecenterofthe

chinandth e t h i r d ,of u r t h ad nf i f t h f i n gersbh e i n d t h e nce

.Thej

awisthen

pulleddownallthewaythroughthe middlepositionwithafirm,well-defined

gesture.Theheadmustnotbe allowedtomoveintheslightestdegreeor

themanipulationmaybecomedangerous.Theopeningofthej

awmustbe

absolutelycompletesothatthecornersof thelipsaretight. Thelipsmust

beslightlyraisedfromthe teethandneitherspreadnorover-pouted.

Thismanipulationmaybesomewhatuncomfortableorevenpainfulwhenthe

ligam entsre

u i r e s t rtec h i n gandthej

a w i s b a dyl l o c

ed.I

t i s g e n ear l l y

absolutelyessential,becauseitisimpossibleforanyoneto learntosingcor-

rectlyuntilthej

awhasbeencompletelyfreed.

f t e r t h e sitf f n essandloc

hv aebeenw or

e d o u t o f t h e sut d e n t


littleornodiscomfortis e

sj

aw,

periencedwhenthemanipulationismade.

When completeopeninghasbeenestablishedbymeansofmanipulation,the

pupilmustbeforcedto ma

ethisgesture,whenevernecessary,withoutas-

sistance.

148

   

                                                                                                                                                                                                                   



histeeth,neitherspreadnorover-pouted.W

stic

,orcrac

,attheloc

henthej

                                                                                               

awtendsto

p o i n t , te ht e a c hrem u s t b e e

t r e m ley

carefulnottoallowit tocomedownandouttoo farwhenheis

p u l l ig nt h r o u g htheloc

p o i n,to r h e m a y d ilso c aet i t . H e m u s t

performthismanipulationfirmly,smoothlyanddefinitely,and

carefully.

Wherethereisacrac

thiscrac

ofthej

a w a t t h e mdi d l e , rol o c

m u s t b e c rae f ul ly a n d c o m p l e t ley "

wor

ed

, p o i n,t

out.Th e

processisnotan easyone,butitcan nearlyalwaysbemastered.

TH UMB,

R I

L

GH T H A N D

TTL

R I

F I N G R ,

GH T H A N D

ig.32J

a w M a npi u l aito n ( c n o c l u dd e)

BThethum bofthelefthn adisplacd eunderth erightche

thethirdfingerof thelefthandunderthe leftchee

 

bonean d

bone.Thethumbofthe

righthandisplaced onthechin.Thelittle fingeroftherighthand isplaced

atthebac

ofthenec

c h i n t o t h e bca

. H o w eevr , i f t h e d itsa n c e b e t w e n t h e p oni t o f t h e

ofthenec

i s s h o r t eo nu g h ,ht e t h i r d ,fourthn a d f i f t hifn g esr

o f t h e r i gthh a n d s h olud b e p l a c d eatthebac

ofthenec

Theheadisraisedand heldupbythe lefthandandthej

downan dbac

149

asshow ninA



.

awispulled

allthewy ab y t h e r i g h thand.


     

   

  







  

   

                                                                                                                   

 





    

Thecompleteopeningofthej

awbytheteachermay,atfirst, be

somewhatpainfultothepupil,butas soonasthej

released,nodistresswhateverisfelt.W

awhasbeen

henthereleasehasbeen

established,themanipulationcanbeabandoned.H oweverdifficult

therela e s i n g fot h e j

thetech nicisshir

a w m a y b ,ei t m u s t b e d n oe.I

ed,thepu pil

f t h i s p h aeso f

s v o i c e wl il , i n eivt a byl , a l wyas b e

throaty.Theteachermayhavetoe

ertaconsiderableeffortin

ordertoaccomplishthismanipulation.

o-ordination

n d e a l ig nw i t h h e d a a n d c h etsm o v e m entsandw iththej

loc

aw

                                                                                      

,etc.,itis importanttorememberthatphonationisasingle



co-ordinatedact.Thus,ifacertain groupofmuscleshasbeenused

inco-ordinationforacertain act,whenanypartofthis co-ordination

occurs,theentireco-ordinationwillcomeinto effectrefle

ly.Thus,

amovementofthechestwill starttheco-ordinatecyclewhich

resultsintheproductionof athroatytoneand,assoon asthisges-

t u r e o cu c r s , t h e tn og u e wl il r e l a

t h e m ucs l e s o f t h e to hr a

a n d m oevb a c

will"give

reson a t i o n fot h e v o w el.Similarly,th eloc

, t h e g l otti s o p e n ,

a n d t h e j a w w i l l s tef o r t h e

ingofthej

a w w il lb r i n g

aboutthemuscularco-ordinationwhichdeterminesathroatytone.

venalipgesturefor theresonationofthevowelmaystartthis

co-ordinatecycleandsetin actiontheentireco-ordinationfor


throatiness.I

twillbeseen thenhowalerttheteachermust be,if

heisto inhibitallthegestureswhichmay startoffthecyclewhich

throwsthevoiceintothe co-ordinationforthroatiness.S uchwor

ishighlypersonal,andtheteacher mustk

nowandunderstand

everypeculiarandcharacteristicgesture,whichbringsthis throaty

cycleintoaction,inthe caseofeachindividualpupil.Thereare too

manydifferentphasesofthissortof thingtodiscussit e

here.

haustively

Whenthetechn icisgood,th e b r e aht i n g m u scles"hold,

thebase

ofthetongueis heldfirmlyinposition,theglottis closesandthe

pressureofthebreathis, therefore,heldagainstthisclosureofthe

g l o tits . T h e s syt e m m u s t b e k e p t i n a s t aet o f e

ThroatyTechnicNec

Whathappen s i n t h r o ayt s i n g ig n

t h e n d rw a nbac

uilib rium.

Whistling

Theton gueisrela

t o t h e p otse r i row a l l o f t h e p h aryn

edand

i n w h i c h psoi -

tionitis heldinahigh degreeoftensionit mayberaisedor

dropped.Theglottisisnotcl osedbymeansofthearytenoidmuscle,

150

                                                                                                                                                                                                                                                                                            

                                                 

 



    

butthisclosureis attainedbecausethevocalcordsares

t o g eht e r b y m a ensoften siononthen ec

thenec

m u s cel s h o l d a c o n s t r i ci to n a t t h e l ayr n

isblownthroughthisconstriction.W

tivelyloudnoiseoccurs.W

ueezed

m u s cel s . I

n o t h e r w rod s ,

, a n d b r etah

henitis blownhard,arela-

henitis blownmoregently,theintensity

isreduced.But,actually,whatisthis formofsoundproduction

u r e l y i t i s mree l y a f om r oflaryn gealwh i s t l ig n

s i n gni g a t a l l

t i s n o t r e a lyl

n t h e o l d d a syo f v a u dvei l l e w e h eardmn a y p h ayr n -

gealwhistlers,whoblewthroughaconstrictionof thepharyn

andcouldevenproduceatremolowith thetongue.Thisformof

whistlingwasq

uitepowerfulandratheragreeabletolistento.

Goingonestagefurther:Throatysingingis e

e

actlythesamething,

ceptinasmuchastheconstrictionis moveddownastagefurther

tothelaryn

and,underthesecircumstances,vowelscanbereso-

natedbythemouth.Pharyngealwhistling,however,doesnotin

t h e l a rn y

ure

 l a r y n g elaw h i s ti ln g d o s e

ere,then,wehaveaverysignificantviewpoint.Thereare funda-

mentallytwoformsofvoiceproduction.O

neformislegitimate

singing,whichfollowsthelawspresentedinthis boo

andwhich

wasbroughttoahigh stateofperfectionbysuchartists asC

D e s tni n , M ebl a , K i r

m e r ley "

nec

byLunn ,S

w h i slti n g

t m a y b e c a lel d b y c o m plimn e t a r yet r m s ,


suchas"singinginthems a

voicep lacem ent,

aruso,

amm a r c o , ect . T h e o te hr f o r m i s

ue,

produ c i n g h ed ao r c o v e rd et o n e s ,

forw a r d v o ie cprodu ction ,

e t c . , rob y o t h e r

t e r m,sw h e n p ref o r m e d s o flty , s u c h a s " m e z z a v o c,e

d i c t in os i n g i n g

or"

r a d i o tceh n i c .

ing,whichisalmostuniversaltoday,maywellbe designatedas

nec

151

whistlin g.

croon ing,

N e v ret h eel s s , t h i s t y p e o f s ig n-

                                                                                                                                                                                                                                                                                              

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

 



   

h a p tre8

E S T A BL

(P

S H I

Y C H O L O G

NG T C H N

C A L I M PR O V E M

NT

C A L F A C T O R S )

Thepreviouschaptershavedealtwiththevarious manipulations

whichm aybeusedtob otainim provd ead

voice.I

ustm entsofth e s t u d etn

s

tshouldbeclearlyunderstoodthat suchmanipulationscon-



stituteonlyameansofspeedingup theprocessoftrainingthe voice.



Theyareoflittlevalue inthemselves,unlessthestudentistaught

toestablishthedevelopedmuscularconditionandthe improved

    

co-ordinationofthemuscles,usedinphonation,withoutmanual

assistance.

o n s coi u s C o n t r o l o f M ucs l e s U s d e i n P h o n tai o n I

m p ossi b l e

Directconsciouscontrolofthe musclesusedinphonationisim-

possibletoaccomplish,andalldirectionsof aphysicalnatureare

primarilyinhibitory.A

                                                                         

tfirst,itwould seemthattheemploymentof

certainofthesemanipulationsnullifiesthisstatement.S

uch,how-

ever,isnotthecase, becausethemanipulationsaremadebythe

teacherand,evenifmadebythe pupilhimself,areonlyeffective

inaidingtheimprovedphonationofthe tone,whichisinitiallythe

outcomeofamentalconcept.I

fweconsidertheuse ofthetongue

instrument,allthatreallyhappensisthat thisinstrumentputsthe

tongueinposition,ina rela

edcondition,andthetonguemus-


clescomeintotensionrefle

lyforphonation.Thetonguereacts

againsttheinstrumentatthemomentthe toneisattac

ed.The

instrumenthelpsthetonguemusclestocomeinto tension,butthe

attac

em anatesfromthementalconceptofthe tone.Thenerve

impulseswhichactuallybringthemusclesinto tensionemanatefrom

t h e b r ani , n o t f r m o t h e i n srtu m n et.I

nfact,e

c e s svi e p r essu r e o n t h e

       

tongue,beforephonationisinitiated,onlytendstointerferewith the

properactionofthetonguemuscles.

                                                                                                                                                                                                                         

With regardtothelaryngealmanipulations,themusclesarein-

deedhelped,butherealsotheyonly comeintotensionasthe singer

152



 



    

attac

                                                               

sthetone,andare nottensed,butaremerelyhelped,by the

manipulation.

Themanipulationsofthej

aw,head,etc.,areofani nhibitory

natureanddonotdemande

planation.

nspiteofthe greatvalueofthesemanipulations,theyareun-

availingifthepupildoes notultimatelylearntoproduceas good

atonewithout,ashe doeswith,theiraid.

LimittoUseof Manipulations

Therefore,afterhavingmadethemanipulationswhichareindi-

cated,andafterhavinghelpedthepupil produceadefinitelyim-

provedtone,theteachermustproceedtowor

    

withhim,without

theaidofthe manipulations,untilsuchtimeasheis abletoestablish

                                                                                         

t h e n e w a d u s t mn et s . F o r t h i s r e a s o n t h e r e a r ,ei n t h e c o u reso f

training,periodsduringwhichthemanipulationsaremadeand,

followingthese,otherperiodsduringwhichtheyaretemporarily

discarded,whenthepupillearnsto establishtheimprovementwhich

hasresultedfromtheiruse.

PsychologicalF actor

Thisbringsouta

uestionalreadymentioned:Thepsychological

factor.Theimportanceofbuildingupthe propermentalconcepts,

andofbrea

ingdownthevariousinhibitionsto whichthevocal

studentissub

ecthasbeenstressedalready.W

henmanipulations


areusedthisproblembecomesharder,noteasier, becausethe

open ingup

p r o cses i s s o g r e alty a c c eel r a td et h a t i t i s o n l y too

oftendifficultfortheteacherto brea

downtheinhibitionswhich

 

interferewiththeproductionofthe greatlyincreasedvolumeof

toneandtobuildup thememorypicturesforthegreatlyimproved

u a l iyt o f t o n e w h ichisprod uced.h Tiswor

a n y i n cer a s d e,new"opening

                                                                                                                                                          

m u s t b e dn oe b e f roe

isbroug htabou t,orthepup ilwill

lagpsychologicallysofarbehindhis muscular,ortechnical,e

uip-

mentastoflounderhelplesslywhenhe attemptstosing.

Therearetwoprincipalreasonswhythe humanvoicedoesnot

functionnaturallyinatechnicallycorrect manner.

a u l t y E a r a n d B a d T eh cnic

Thefirstisbecausethe earisfaultyor undeveloped.Whenthe

individualisactuallytonedeafhe cannotlearntosing.F

urthermore,

wheretheearisreally poor,theprocessoftrainingthis pupilisso

153

                                          





   

    

                              

difficultandarduousthatit ishardlyworththeeffort.The unde-

velopedearcanbetrained,and itmustbetrainedif thepupilis

tolearnhowtosing.

n h i btii o n a n d B adTech nic

   

Thesecondreasonisprimarilypsychologicalor inhibitory.Most

peoplearemoreorless inhibited,andthisinhibitionis veryapt

tota

etheformof"holdingbc a

"

                                                                                                                                                                                                                                                                                                                      

t h e v oci e . T h e por p e ryl - p rd ou c e d

voiceisalwayspowerfulandeventhesmallest,humanlaryn

can

producesufficienttonetobeclearly heardoveranorchestraina

largeauditorium.I

nhibitionwillcutdownthe intensityofthevoice

tothemerestfractionof thepoweritshouldproduce.Thereis only

onemeansbywhichtheinhibitedindividualcan bringaboutthis

r e d u tci o n i n i net n s iyt , a n d t htai s b y "

cho

ingoff

h i s v oci e ( t h r a oty

technic).H ence,theinhibitedpupilwill instinctivelyma

ethe

gestureswhichbringtheconstrictormuscles(muscles ofthenec

tongue,j

,

aw,chestandshoulders)intoactionand destroytheproper

functionofthevocalapparatus.Therefore,mostpupilsautomatically

tendtoraisetheir chestsanddrop,orpull in,theirheadsin order

to"

holdbc a

"

t h e t o n e t h e s e g e s t uer s a r e a p t t o bceo m e mroe

pronouncedasthepitch,andthereforethe intensity,rises.

er

ingandslu r r i n g aer a l s o a n o uct o m e o f ih ni b i toi n , b e a cuse

theinhibitedpupilinstinctivelytendsto chec

himselfandcut


downth e i n t e nist y o f t h e t n o e . T hsi"

er

chec

"

givs er i s e t o e i t h era

o r as u l r.

Theteachermustwor

hardtoovercomethisinstinctivefear,

orinhib ition , o n t h e p a r t o f te hp u p i l . I f h e f a i l s t o d o s,oh e w i l l

n e v res u c c e d einma

i n g h i m s ig n. I

becau sethepsc y h o lg oi c a l b rae

tishardwor

a n d r aht e r c r u le,

d o w n fot h e p u p i l s f e a r a n d i nihb i -

tion,whichareseatedinthe veryrootsofhisnature,is avery

radicalprocess.H

i s w i l l ig nt o t a

owever,itcanbedone,providedthatthe teacher

h i me s l f s u fi fc i e nlty , a n d te hp u p i l i s a bel t o s u b

h i m slef , a n d s u rrend ertothetec ah e r

s"

ect

d r i v .e

elf-listening

Muchhasbeensaidaboutself-listening.I

tisnot anoverstatement

tosaythatan absoluteself-listenerisunteachable:F

irst,because

heisunableto changehismentalconceptsoftoneq

uality.S

econd,

becausehecannotlearntodefine hispitchconcepts.Third,because

hehearsthetoneq

ualitycompletelyinverted,i.e.,thethroatierthe

tonebecomes,thebetteritsoundsto him.

154

                                                                 





   

    

    terno-mastoidMusclesandS

elf-listening

Thereseemstobea verydirectphysicalreasonforthis apparent

imprv o e mn et o f t o n e q u a l i t y t o t h e sni g e r

techn i c i s t h r o tay . I

n t h r o aytt e c h nci , t h e n e c

tensionanddothewor

m u s cel s c o m e i n to

thatshouldbedoneby thelaryngealmus-

cles.Referen cetoF igs.2

nec

sownear,w henthe

&

27willsh owthatth emostprm o inn et

musclesusedinthroatysingingare thesterno-mastoids.When

thesemusclesareina highstateoftension,theyma

directconductorofsoundfromthe laryn

eahard,firm,

totheear,bymeansof

theserigidmuscles.Undersuchcircumstancesit wouldappearto

beobviousthatthesingermust perceiveavastlygreaterrichness

andvolumeoftonethanhe isactuallyproducing.W henthese

musclesarerela

ed,theconductionislost.Therefore,as soonas

thethroatinessisrelieved,thesingerwill hearatonewhichis con-

s i d ear b l y r eu dc e d i n p o w erand" ring

t o h i s o w n era, d e s ptie t h e

factthatitis actuallyfarfuller,freer,andof betterq

e a r o f t h e l itse n e.rS

ualitytothe

otrueisthisth atthetec a h e r i s f ocr e d t o w o r

,

orshallwesayfight, dreadfullyhardtostopthepupil frompro-

ducingtoneswhicharethroaty,shutoff andunpleasanttotheear

ofanyoneotherthanhimself.I

nfact,unlessthepupil canbeforced

tostoplisteningto hisownvoice,itis impossiblefortheteacherto

stophimfromdeliberatelyproducingthethroatiestpossibletones.


TechnicalPractisingO

utsideS

tudioH

armful

Technicalpracticebythepupil outsidethestudioisharmfulat

alltimesandat allstagesofdevelopment.W henpractisingalone

hewillinevitablylistento hisownvoiceratherthanconcentrate

onthetec ah e r

s d i r e cito n s . S i n c e h e i s t h e n g udi e d b y h i s o w near,

whichhearsanimprovementinpowerandq

ualitywhenthetone

hasmerelybecomethroatier,suchpracticewillserve onlyto

engenderthroatiness.Thepupilwhoinsistsonpractising technic

aloneneverlearnstosingwell

                                                                                                                                                                                                                                                             

hisvoiceisalwaysthroaty

u t i l iyt o f F i n e V o i c e wtih o u t I n t e r p r e t ie vA

bility

n s o m e c ae ss,ind ividu a l s w h o sat r t w i t h " n o n a t u r a l vioc e ,

whohaveconsiderabletalentforlearningthere

but

    

uiredtechnic,may

havenocapacityforlearningrepertoireand notalentforinterpre-

tationandperformance.Therefore,occasionallythereisdeveloped

abeautifulvoice,throughthesheerefficiencyof theprocess.But

thesatisfactionofsuchachievementisconvertedinto unmitigated

155

                                                                                            

                                                             





    

                  

chagrinwhenthepupilis foundtobethe possessorofagrandorgan

whichheisu n a b l e t o uesi n p e r f om r a ne c.I

tisalsotrueth atthe

highlytalentedperformermaysometimesbesoneuroticthathe is

unabletoconcentratesatisfactorilyonthewor

nicalproblems

ingoutofhis tech-

hecannotlearntoproduce hisvoicereallywell.

15


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

    

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h a p tre9

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M

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S TR A T

O N

n t r a i nni g t h e m a n s v o i c e , n a d i n a l e s s e r dg er e e t h e w oman s,

oneofthem o s t i m prot a n t e

e r c ie s s i s t h e o n e i n wihc h h e s t atrs

atoneinthe falsettoregisterandaddsthelower register.This

e

e r c ie s , w h ih c m a y b e t em r e d " g o i n g trho u g h t h e f a l s tet o ,

beends ec r i bd ei n t h e a u t h or

s p r e v iu os b o o

 

has

s , b u t w iht t h e u s e o f

laryngealcontrolsandthetongueinstrument,theprocedurehas

  

beenconsiderablymodified.

GoingThroughtheF

alsetto

Theeffectivenessofthise

ofapurefalsettotone.I

ercisedependsupontheproduction

                                                                      

tshouldnotbe usedbeforethefalsettohas

beencompletelypurified,oranincreasein thedegreeofmi

edregis-

t r a t in oa n d t h r a otins es w i l l r eu slt.I

e r c ie s

n o t h e r wrod s , i f t hsie

isusedbeforethepure falsettohasbeenestablished,theresultwill

beharmful,becauseitW

themi

The"

dar

cise.H

illmerelyservetoengenderan increasein

tureofth elowerrg e i s t re.

"

e

vowelisnearlyalwaysemployedforthise

er-

owever,becausethetongueinstrumentisgenerallyusedat

theoutset,thisvowelisoften ill-defined,becausethetongueposition

determinesthevowelandtheinstrumentdeterminestheposition

ofthetongue.Thepupilshould notresistthetonguepositionwhich


   

theteacherhasbroughtaboutby theuseofthe instrument.He must,

therefore,singthevowelwhichresultsfromthis position.I

fhe

forcesthevowelhimself,hewillmovehis tongueandthusma

                                                                                                                                                                                                                                                             

eit

impossiblefortheteachertouse theinstrumenteffectively.F urther-

m o r ,ev e r y f e w p upilshv aea cl ea r cn o c e p t fot h i s "

dar

"

v o wlea t t h e

outsetoftheirstudiesand theymust,therefore,singthevowelwhich

theinstrument-controlledtonguepositiondetermines.Theteacher

c a n f o re c t h e p u pl it o p r o d u e c s o m eht i n g l i

ea"

dar

"

"e

v o wle

bymeansofthetongueinstrument,if thepupildoesnotresist the

ad

ustment,beforeheisableto conceiveithimself.

Thepupil

157

sj

awshouldbecompletelyopenedandhislips un-





                                                                                                                                                                                                      

spread,unpoutedand,atthesametime,heldslightly awayfrom

theteeth.Underthesecircumstanceshecannotform amouth

vowel,andthetongueactionwillbe definitelybroughtintoplay,

i.e.,pharyngealresonancead

ustmentwillbeestablished.

When thepurefalsettohasbeenestablishedin thisway,the

p u p i l myab e d i r e cet d t o "

gothru ogh

addthelowerregisterto thefalsetto.A

tothelow e r r e g itse r , i ..e, t o

tthemomentoftransition

thetensiononall themusclesusedinphonationmustbe suddenly

increasedandtheintensitymustinstantaneouslyriseconsiderably.

tthisvitalmomentof transitionthepupilmustnotbe allowed

toma

ea nymoe vmen twhatv ee r o f h i s tn o g u ,ej

shoulders,diaphragm,bac

aw,lip s , c h ets,

muscles,head,etc.Thevowelmust

notbemodifiedinthe slightestdegree.Theimpulsewhichbrings

thelowerregisterintoactionmust merelyta

tensionande

s t a ne csmaythep u p i l b e a lol w e d t o r lea

loudn essofthetn oeorj

thee

etheformof added

uilibriummustbemaintained.Undernocircum-

er

,brea

off,dc e r e ae sthe

atthemom e n t o f t r asni t i o.nI

f h e d o e s s ,o

erciseiscompletelynullified,becausethefalsettotensionis

notretained.

n t e nist y R i s e s w i t h A d d i t i o n o f L o w e r R e g i set r

tisalso essentialthattherisein intensity,atthemomentof

transition,issufficientlygreatorthe lowerregisterwillnotbe com-


pletelyestablishedandmi

mustbeforcedtoe

edregistrationwillresult.Thepupil

ertsufficientefforttoestablishthe purelower

r e g itse r , a t t h e p roperin t e n stiy , r a p idlyands

i l l f ul ly . I

toaddsufficienttensionat themomentoftransition,thee

isnotonlyfutile butharmful,becausemi

fhefails

ercise

f h e f e e l s sol w l y i n tothelow e r r e g itse r , t hor a t ie ns s a n d m i

ed

registrationoccur.O

fcourse,thefalsettomustbe sungasloudlyas

possiblewithoutmi

ture.Thisintensityis,however,q

thelowertones.Nevertheless,ifthema

      

edregistrationresults.

                                                                                                                                                                             

uitesoftfor

imumtensiononthefal-

settomuscles,whichcanbeattainedat anygivenstageofdevelop-

ment,isnotbroughtinto play,thee

erciseisoflittle value.The

lower-registertensionisonlyadded,inpropertechnic, ataninten-

sitywhichisgreaterthan theloudestpossibleintensitywhichcan

beproducedinthefalsetto.

158



 



    

NoI

    

n t e nist y O v e r l a p o f R e g i s t e r s

tnotimeshouldthe registersoverlapfromtheintensitystand-

point.Thepurefalsettocanneverbe sungasloudlyasthe softest

lower-registertoneatthesamepitch,andvice versa,thesoftest

lower-registertonewhichcanbesungat anygivenpitchmust

alwy as b e l o u d e r t h a n t h e lu od e s t psos i b l e p u r e f a le stto.In wor

ing

outtheproblemsofregistration,it isvitalforthe readertobearin

mindthefactthatthe registersshouldbematchedinq

ininten sity.Whenv eerthi sru leisbro

enmi

ualitynot

e d r e g itsr a toi n a n d

vocaldeteriorationresult.

ThyroidManipulationinGoingThroughF

alsetto

Thethyroidmanipulationmaybeemployedinthe"

t h e f a le stto

e

goingthrough

e r c ie s.E itherth e t o n g u e isnt r u m e n t i s n o t ue sd,or

                                                                                              

thepupilmayusethis manipulationhimselfwhiletheteacherem-

ploysthetongueinstrument,orviceversa.I

ntheearlystages,the

     

trainingprocessisnearlyalwaysacceleratedwhentheteacher uses

thismanipulation.I

dothise

tismosthelpful becauseitenablesthepupilto

erciseeffectivelyverymuchsoonerthanwouldotherwise

bepossible.

Thise

erciseshouldbeusedin practicallyallstagesofthevocal

development.Whenpharyngealresonancead

ustmentandpure

registrationhavebeendefinitelyestablished,themanipulations


andtheuseof thetongueinstrumentbecomeunnecessaryand

shouldbeabandoned.H owever,eachtimeanopeningoccursthis

e

ercisebecomesessential,becausepharyngealdevelopmentmust

bemetwiththenecessarylaryngealwor

o w e l Msut B e H e l d C

.

o n sat n t

When thetongueinstrumentisnotbeing used,thepupilmustbe

suretoholdthe vowelabsolutelyconstantforthetworegisters.

e m u s t n o t b e lal o wd et o "

w h iet n

g o e s t hor u g h for m t h e f asle t t.oI

thelow e r r e g itse r w h n ehe

f h e d o e s s ,os o m e d erge e o f m i

ed

registrationisaptto occur.

t i s n o t u t t elry e s s n etialth atthedar

dar

"

"

e

v o w e l b e u s e.dA

vw o e l m a ye srvemu chthesam epurps oe . I

thatisessential,becausethepure falsettoisalwaysassociatedwith

dar

ny

tisthedar

ness,untilaveryhigh stateofdevelopmenthasbeenattained,

whenthecolorrange,concomitantwithpropertechnic,becomes

ness

                                                                                                                                         

verywide.

159

                                                                                                                       





   

    

yoidBoneManipulationandGoingThroughF

                                                                                                                                                                                                                     

alsetto

ncaseswherethetonguedrops badly,thehyoidbonemaybe

heldup,s ap r e v iu os l y d ecs r i b d e , f o r t hsie

e r c ie s.I

n p r a c tci e , h o w -

ever,thisisseldomdone,because,undersuch circumstances,the

r e g itsr a t in oi s g e n e rlal y t o o m i

While"

e

edforthee

goingth r o u g h te hf a l s etto

e r c i s eot b e b e n eifc i a.l

isoneofthem o s t i m prot a n t

e r c ie s s f o r t h e mlae v o i c ,ei t i s u s e d v eyr s e l d m o forthewm o an

s

voice.Thisisbecause,inthe firstplace,nearlyallwomensing

falsettoonlyand,therefore,wefindthatmostof theirtechnical

f a u lsta r e a s s c oi a t d e w i t h t h i s rg ei s t re. H e n c e ,ht e u s e o f t hsie

er-

cisewouldonlytendto reflectthesefaultsintothelower register.

nthesecondplace,womensingabout anoctavehigherthanmen,

sothattheyactuallyuse thefalsettoinperformanceandtheinflu-

enceofthisregisteron thelowerregisteris,therefore,moreor less

automatic,whentheotherphasesofthetraining areproperlycar-

riedout.Nevertheless,thise

ercisecansometimesbeusedfor

womenpupilswithbeneficialresults,providedthatthefalsetto

ispureand"openedup.

mustbeob s e r vd ea r e e

Whenitisused,thecn o d i toi n s w hci h

actlyth e s a m e a s wtih a m a n .

Baln a c i n g R e g i s t esri n W o m e n

sV

Balancingtheregistrationinawoman

oices

svoice,whenthetwo

registershavebeenisolated,purifiedandproperlyestablished,is


mostimportantandmustbedealtwith atasearlya stageaspossible.

Thee

ercisesusedforbalancingandrelatingthe registersare

relativelysimple.Thefirstonetobe employedistheoctavej

Thise

ump.

ercisetendstobalancethe tworegistersintheiroctaverela-

t i o nh s i p a n d i t a lo s h e l p s t o tar n s fret h e "

open ing

                                                                                                                                                                                                                                     

ofthelow er

registerupintothe falsetto.

n t h e p e rof r m n aceofthise

e r c ie s,thej

awshou ldbecomp l e t eyl

openedandthetongueinstrumentmaybeused.The lower-register

toneshouldbeattac

edloudly,withthepitch asaccuratelycen-

t e r e d a s psos i bel . N o s l u r s h ouldbeps as e d ( a j

er

isalwy as a c c o m -

paniedbyaslur).The thyroidcontrolmaybeemployedwhen

itsuseis indicated.O nacue fromtheteacherthesingershould

releasethelower-registertoneandimmediatelystri

ethetonean

octavehigherinthefalsetto.This tonealsoshouldbesungat full

voice.Nophysicalmovements

shouldbemadeduringthetransition

betweenthetwotones.Theuppertoneshouldbe attac

anyj

er

orslur.It

edwithout

i s u s u al ly b e s t f rot h e p u pl it o s i n g t h e e nitr e

e

erciseononebreath,becausewhenshebreathes,she mustbrea

1

0



  



   

offandth e"

open ing

m a y n o,tt h e n , b e crar i e d u p i n t o t h e f asle t t .o

t i s v i t a l t h tas h e s h o u ldma

enomovm e entofth ehead,ch est,

s h o udl e r s , j a w , t o n g u e o r l i p sasshema

attac

                                                                                                                                                                                                                                                                                                                                                                                                                                                                              

e s t h e t r asni t i o.nT h e

oftheuppertoneshould bemade,withgreatrapidity,imme-

diatelythecueis heard.Theoctavej

aboutmiddleC

umpshouldbesungfrom

toashighas thelowerregistercanbe carriedup

wideopenatthegivenstage.

Theterm"

a v i o l etnj

attac

er

"

isnotavery goodone,becauseitmayimply

whichisb asolu t e l y wor n g . T h eattac

ofbothth e

l o w rea n d t h e u p p ertonemu stbemaden oasmooth"out

mentofthediaphragm.Themusclesofthe lowerribs(bac

cles)mu stnot" give

orthe" hold

m o v -e

mus-

onthedip a h r am g i s n u l l iife d .

When thelaryngealcontrolforthelower registerisused,itmust

bereleasedforthefalsettotone.

Theloudnessofthefalsettotoneshould matchthatofthelower-

registertonewiththenecessaryincreasein loudnessfortheoctave

riseinpitch (15decibelsrisein intensity).

Whilealltheman u a l c o nrto l s m y ab e u s e d f o r t h ise

e r c i s,ew h e n

andhowtheyshouldbeemployedmosteffectivelydependsupon

thee

istingtechnicalconditions.This,theteachermustbe ableto

determine.

ftertheu pperton e h a s b e e n tat a c

e d a n d h edl f o r a f e w s e -c


o n d s ,ht e p u p i l s h ould"carrydown

tothelow e r r e g itse r a g ian .

heshou lddosowith o u t b r e a i n g o f,fa n d e n d wtih a f u l l , p uer ,

lower-registertone.This"

carrydown

isimportant,becauseit

helpsintheassociationof theregistersand,atthe sametime,adds

falsettotensiontothelower-registertension,therebyaccomplishing

m u c h t h ea s m e r eu s l t a s t h e " g o i n g t h r o uh gt h e f a l stet o

e

ercise

formen.

Theremustbeacomplete"

brea

u p p e r tn oe , b u t n o " b r e a

off

off

betweenthelowerand

s h o udl b e m a d e o n te hw a y d o w n.

Thisisimportantbecauseit isessentialthatall falsettotension

possibleispresentinthe lowerregister,whilethereshouldnotbe

anylow e r r e g itse r t e n s i o n i n t h e flas e t t.oT h u s , t h e"

brea

off

on

thewayupmustbe completeandthefalsettotonemustnot be

attac

The"

e d w i t h ayns l u r a t a l l o r t h e r g e i s tar t i o n w illtendtom i

carrydown

.

mustbecomplete,sothatall falsettotension

possibleisaddedtothe lowerregister.Undernocircumstances

shouldthepupilslidebelowthe lowertoneaftersingingtheupper

tone,sincetoolittlefalsettotensionwould thenbeaddedtothe

lowerregister,andthiswouldeliminatemuchof thebeneficial

effc et o f t h e e

The"

1

e r c ie s.

carrydown

shouldbeaccomplishedonanarrowvibrato,

1







   

    

butevenifthe pupildoesslur,thefalsettotensionis addedtothe

lower-registertension,andsomemeasureofthedesiredresult

t r a np s i r e.sT h e e

e r c i s e i s fol i t t l e v lau e i f t h e p u pilbrea

t h e w a y dw o noreith e r s l u r,so r j

Thevowelusedforthise

er

soffon

s i n t o t h e u p e r ( f asle t t )ot o n e .

erciseisgenerallyadar

ah,

but

othervowelsmaybeemployedaccordingtothepupil

sabilityto

resonateanyonevowelwithpharyngealresonancead

ustment

b e t t ret h a n o t h e r v o wles . T h u,st h e d a r

e

vow e l i s s o m ei tm e s b ets.

Theactualvowelemployeddoesnotmatterverymuch,provided

thatitisdar

Whilethej

e

andnotth r o a t .y

a w i s g e nrea l l y o p e n e d al lt h e w a y f rot h e e n t ier

ercise,itmay,undercertainconditions,befound beneficialfor

t h e p u pl it o a t t a c

thelow e r t o n e wtih t h e j

thenopenitfor theuppertone.Thej

ma

a w n e ral y c l oe sdand

awshouldneverbeallowedto

eaclosingg e s t uer w h e n t h e p u p i l a tat c

there

w o mn e

s t h e u p p ret o n e .

e r c ie s s m u s t aslo b e u s e d f ror e l a tni g t h e r e g istersin

s v o i c e.sT h u s , t h e i n t e ravl s h o udl b e r e d u e cdtoama

fifth,ama

or

orthird,awholetone andevenasemitone.Theregister

changemustalwaysbeaccomplishedwiththeminimumofq

t r a nist i o n a n dwithu ot"

g i v ,e

s l u rirn g o r j

er

uality

ing.

When theregistershavebeensofar developedandpurifiedthat

thepupilcansing thetoneD(on thefourthlineofthe trebleclef)


wideopen,withtheproperresonancead

theE

ustment(goodq

uality),

flat,onesemitonehigher,canbesung inthefalsettoata

slightlylouderintensitythantheD issunginthe lowerregister.

Where thechangehastobe madelower,thefalsettoisnotin the

inten sitylin e.I

f i t i s o n l y a s e mtio n e t o a t oe na n d a h a l f t o o lw o,

theintensitydropinthe transitionisnotdistressinglygreat.

e l a tvi e l y W e a

Midd leTons eU n a v iod a bel a t F

irst

nevenintensityscaleis obviouslyoffundamentalimportance

intheinterpretationofa melodicline.H

owever,anevenscaleis

notestablisheduntilarelativelyhigh stageoftechnicalproficiency

hasbeenreached.Beforethisstagehasbeen attained,afewofthe

lower,falsettotonesareunavoidablytoowea

.Thismaybeunfor-

                                                                                                                                                                                                                                                                                                                                 

tunate,butitis anunavoidableconcomitantofpropervocaltraining.

Thesinger,whocanonlyuse thelowerregisterupto aboutF

      

,

onthebottomspaceofthe trebleclef,hasatleast fivesemitonesin

t h e f a le sttorg e i s t rew h i c h a r e toow e a

andA aremuchtoowa e

.TheF

s h a r,pG , A

flat

 e s p e c i al ly t h e F s h a r p a n d G . I

ever,anyattemptismadetolevel uptheintensityline,eitherby

softeningthelower-registertonesbymeansofconstrictionbelow

1

2

f,how -

                                                                                                                                             

theintn e s i t y lvee l a t w hci h t h e y c a n b esung" open ,

orbypush ing

t h e l o w f las e tot t o n e s b y m eansofth ic

a b oe vthe

nessor"edge,

                                                                                                                                                                       

intensitylevelatwhichtheycan besunginthe pureregisterwith

thethroatopen,theresultis entirelydestructive.Undersuchcir-

cumstances,theregistrationbecomesmi

rioratesrapidly.F

edandthevoicedete-

urthermore,theconstrictionofthelowerregister,

whichin e v iat b l y o c u crswhn e t h i s r e gsit e r i s " h e l d b c a

,

orsung

toosoftly,reflectsupintothe falsetto,whichthenalsobecomes

verythroaty.Thisthroatyfalsettointurn reflectsdownintothe

lowerregisterwhichbecomesprogressivelythroatierandmore

mi

e d . T hsir e f l e tci o n o f t hor a t ie ns s a n d m i

t u r e b ew t e e n te ht w o

registers,asthesingerchangesfromone totheotherincorrectly,

buildsuptoa mostdistressingdegree.Thiseffectcanbeso pro-

n o u ne cdthatth e v o i c e mya"

s h u t off

o f as o ng ee vnwheniths ab e e n r eal t i vley "

altog e t h rei n t h e p r o ger s s

open edup

inthe

technic.

A

LittleLowerR

egisterMoreDangerousthanNone

Manysingershavebeentoldbytheir teacherstousethelower

r e g itse r (

c h e s to vice

)uptoE

flat,E or,perh aps,F (thefirst

spaceonthetrebleclef) butnottouse itanyhigher.Thispro-

       

cedureisdefinitelyworsethannot usingthelowerregisteratall.

When thisregisterisemployedfora fewlowtonesonly,thelower


                                                                                                                                                                                                                              

falsettotonesareinevitablypushedandforced,because,ifthey

weretobesungin thepure,unthic

ened,unforcedfalsettoregister,

t h e y wu ol d b e f a r t o oi lg h t a n d w ea

tobeusab leincon

u n c t in o

withtheloud,lower-registertonesinthis lowpitchrange.The

s i n g rew h o j

ust" fads eo u t

i n d e s cn ed i n g t h escalemy a p o s sbi l y

retainarelativelypurefalsettoandmay,therefore,beproperly

trainedq

uiteeasily,butthesingerwho haspushedthelowerfal-

settotonesmustinevitablyhavemi

throaty.A

atall.I

edthemandrenderedthem

litdelowerregisterisnot betterthannolowerregister

t i s d i s a srto u s

Thelow e r r e g itse r m utsb e d e v eol p e d , h a n d ld e

andusedproperly,orit mustnotbeusedat all,underwhichcir-

c u m sat n c e s te hs i n g e r m u s t r e s in gh e r s eflt o a s o r t o f " h a l f b a

ed,

sillyformofsingingwith herthroatalwaysinsomedegreeof con-

striction.H

1

alfmeasuresaredestructive.

3







   

    

L o w reR

e g i setr M u s t B e C a r r i e d U p t o Por p e r Ptic h

tanygivenstagein thetrainingprocess,thelowerregister must

b e u s e d u p t o a c etra i n p ion t a t n o r m alloudn ess.I tmustnotbe

usedtoohighor toolow

eitherfaultisharmful.Thispoint changes

asthetechnicdevelops.Thevoiceis notreallyregisteredatall

untilthelowerregistercan beusedconsistentlyupto aboutBflat

onthetrebleclef.This meansthatthepupilcan producereally

open ,

goodquality,lw o e rr-e g itse r t o n s eu p t o a b o u t C o r D f l a t .

Perm anentM i


Therearetwotypesofmi

edregistration.I

                                                                                                

nthefirsttype we

haveapermanentmuscularconditionwhichcanbe changedonly

inthecourseof asomewhatprolongedperiodoftraining.This

conditionismanifestedphysicallybythetilting ofthethyroidcar-

tilagewhichapproachestoocloselyto,or ine

touch e s , t h e hoyi d b o n.e(

TemporarilyI

nducedMi

Theothertypeofmi

edR

egistration

edregistrationistemporarilyinduced.The

mostprevalentcauseofthistypeof mi

a s i n g e r ed ne a o vrsto"

open ,

tremecases,actually

e e F i g . 2 1).

evenup

edregistrationoccurswhen

t h e i n tn es i t y lni e b e f roe t h e p u r,e

l o w rer e g i set r c a n b e c a rire d u p h i g h n e o u g.hW h e n t h i s

isdonerepeatedly,foranylengthof time,aconditionofpermanent,

mi

edregistrationresults.Thetransient,ortemporary,mi


trationleadsonlytoooftento permanentmi

edregis-

edregistrationcom-

pletevocaldegeneration.

Thepupilwhocansing uptomiddleB flatwithapure,"

open

wide

lowerregister,anduptothe Bflatanoctavehigher,with a

pure,g o o d q u a l i t y , f r e,e"

g o o d n tau r a l vioc e ,

a r e t o o wae

open

.Thesew ea

ditionisnotin

tonesn eednotbeofp o o r q u a l iyt a n d c a n

u a l i t y q u i t e s a t ifsa c troi l y . S u c h a c o n -

uriousordistressing,andit issoonovercomewhen

thevoiceisbeing trainedproperly.A

s h u titn g o f f

f a l s tet o , h s aw h a t mgi h t b e t e r m ed,a

d e s ptie t h e f a tct h a t a f e w o f t h e m i d d l eot n e s

m a t c h te hl o w e r r g e i s t rei n q

nyattempttocorrectit by

thelow e r r e g itse r o r b y m i

falsettodestroystheq

i n g a n d p uh singth e

ualityofbothhighandlow tones.Thesinger

whohasmadethisattemptfinallyfinds herselfwithafew,poor

uality,throaty,middletonesandnotevenpassablygoodupper

orlowertones.I

nherattemptto alleviatearelativelyminortech-

nicalfailing,shehassucceededonly ineliminatinghervoice.

1

4

                                                                                                                                                                                                                                                                                                                            



   





lim i n tai on o f M i

e d " M i d del

    

R e g i se tr

                                                                                                                                           

tisinterestingto notethattheprocessof trainingindicatedhas

foritsgoalthe absolutepurificationofthelowerandfalsettoregis-

ters,andthecompleteseparationofthesetwo registers.I

taimsto

openthemup,relatethemandfinally co-ordinatethem.I

carryingoutofthisprocess theso-called"

is,infact,onlya mi

which

edregister,iseliminated.Thepurefalsetto

andthepurelowerregisterare ofgoodq

ter

nthe

middleregister,

uality.The"

middleregis-

i s t h r o tay a n d o f msot u n p l a e s a n t q u a l i t y t o t h erta i n d eear.

Unfortunately,todaymanyteacherseliminatethelowerregister

andtherebyinevitablyeliminatealsothepure,"

open

falsetto,with

theresu l t t h a t , i nht e f i n a l aa nl y ssi, t h e y etsa b lsih a n d " t r a i n

themi

ed"

m i d del r e g i setr .

only

T h e y ei lm i n tae w h a t so hu l d b e t r ian e d ,

andtrainwhatshouldbe eliminated.

UseofF

alsettoforMiddleTones

Thefalsettocanbeusedi nasongas lowasaboutmiddleG for

averysoftpassage,butfor allnormalsingingthelowerregister

shouldbecarriedthroughBflat orB,andforloud singingthrough

D.A

tfortissimothelowerregister,if pure,fullydevelopedand

balancedwiththefalsetto,canbeused forveryhightones.I

b e c a r rei d u p v e r y hgi h , h o w ever,u ntilthepu pil

e

trem e l y a da v n c e d satg e o f d eevl o p m ent.I

tcannot

     

svoiceisinan

f i t i s c a r r i e dot o h i g h


forthegivenstageof development,itbecomesthroatyandmi

                                                                                                                             

ed

andthisconditionwillbe reflectedupintothefalsettoin aneven

moremar

eddegree.Thisis,of course,absolutelydestructivetoa

propertechnic.

ctaveR eflectioninPerformance

Becausethelowerregistercontrolsthefalsettoone octavehigher,

thesingerwhocannotusethe lowerregisterabovemiddleGshould

neversingabovetheG,one octavehigher,inperformance.

WhenshecanusetheA inthelow e r r e g itse r , s h e cn as i n g t h e

highA

inthefalsetto,etc.Thisrule shouldbestrictlyadheredto

orthevoicewill inevitablysuffer.

UntilDonthe fourthlineofthe trebleclef,sunginthe lower

r e g itse r , i s " i n t h e v o i c e ,

t h e i n tn es i t y s a c l e i s s o mw e hatou tof

balance,becausethelowerfalsettotonesaretoowea

,andthey

mustnotbepushed.Nevertheless,whenmiddleBflat,sung inthe

l o w rer e g i s tre, i s "

1

i n t h e v oci e ,

t h e l i n e i s r lea t i e v l y w el lb a l a n e cd

   

5

                                                                                                                              



foreverythingbutfortesinging.F

                                                

urthermore,thefalsettoBflat,

anoctaveabove,maybesungfreelyand withabsolutesafety.

Therefore,thesingerwhohasreachedthisstage ofdevelopment

caninterpret,satisfactorily,mostariasandsongsfor thesoprano

voiceandanycompositionforthecontralto voice.

UseSongsofLimitd eR

Beforethepure,fully"

angeinEarlyS

opened

tags e

lowerregisterhasbeenestab-

       

lished,thepupilmustnot singsongswhichcontainhightones,

althoughhervoicemaybea sopranoevenahigh sopranoorthe

resultswillbetechnicallyharmful.F

orthisreasonmostbeginners

shouldstartwithcompositionswhichhavealimited range.Later,

asthelowerregisteris openedupandbalancedwiththefalsetto,

amoree

t e n dd er a n g e c a n b eused.Th isshou ldnotta

everylon g,

becausetheunharmed,talentedbeginnerisoftenableto singin

theproperk

eyforhervoicein afewmonths.

MaintainNormalTessitura

When thepropertessiturahasbeenestablished,it ismostinad-

visab l e f o r h e r t o sni g a t a l o w reo r h i g h e r t s es i t u ra.I

fshedoesth e

former,shewilltendtopush formorepoweroutputthanhervoice

canprod uce.I fshedoesth elattersh eisaptto"

s h u t off,

becau se

                                                                                                 

sheisunableto sustaintheenergylevelwhichis necessaryifshe

i s t o m a i nati n t h e " o p e n i n g

a t t h i s t es i t uar . T h e v ioc e i s w h a t i t


isnaturallywhenit isusedcorrectlytechnically.Thisis

bythesizeand structureofthevocalapparatus.I

properly-producedvoicecancoverarangeofat leastthreeoctaves

of"

open,

legitimatetones.Nevertheless,thisdoesnotmeanthat

thecontraltowhocanproducea DabovehighC

cansingsoprano

roles.Thetessiturawouldbetoohigh andshecouldnothold the

open ing,

w i t h t h e rseu l t t h tas h e w o udl i n e vtia b l y sat r t t o c o n -

strict,andhervoice,whichwouldbecomethroaty,wouldultimately

beruined.S

imilarly,thesopranowhotriestosing contraltoroles

i n e vtia b l y tihc

hervoice.

1

ensandmi

  

determined

tistrue thatany

esherreg i s t r tai o n a n d t h u s d e srto y s

                                                                                                                                                                                                



h a p tre1 0

V I

B R A T O

A ND TR E

M O L O

i b r aot

Theabsolutewhisperisproducedwhentheresonancecavities are

shapedforthevowelandthe vocalcordsaresofar separatedthatthey

donotcomeintovibration.Thereis, therefore,novariablefundamental

present,sothatthepitch oftheabsolutewhispercannotbealtered.The

airise

 

pelledfromthelungsand,passingout inastream,bringsthe air

intheshapedcavitiesinto vibration,therebyproducingthevowelsound.

ssoonasthe intensityrisesaboveawhisper,phonationstarts

glottisbeginstoclose.A

the

  

tverylowintensities,underpropertechnical

conditions,thevocalcordsarestill relativelywidelyseparated.Under

thesecircumstancesthebreathe

wor

pulsionisveryhigh,andc onsiderable

mustbedonebythe singertomaintainthebreathpressureand

phonatewiththeresonancecavitiesheldin theirproper"

A

ofbothth elaryn

oftheglottis.A

andtheph aryn

, a n d n a ror w s , ad nf i n a lyl c l o s e,st h e s l i t

tacertainpoint ofintensity,muscularfatiguewouldresult,

wereth i s t e n soi n o n t h e m ucsl e s o f t h e pa hr y n

a n d l a rny

tobeheldcn o-

stantandthebreathpressuremaintained.Thisintensityvaries withdiffer-

entvoices.I

tmightbetermedthe mezzo-pianoofanygivenvoicewhich

i s f r e e a n d i n cror e c t a d

u s t mn et . I

t i s i m p o rat n t t o n oet t h a t e v n ethis


intensityisnotso verysoftindeedit maybeconsiderablylouderthan

theF.

.ofthesam e s i n g rew e r e h e t o b e uisn g a t h r otay t e c h n ic.

When thispointatwhich thevocalmuscularsystem(i.e.,themuscles

o f t h e t h roa

,laryn

a n d p h ray n

) w o u l d ftai g u ,ei f i t w e r e h edl i n

constanttension,isreached,thevibratoactionbegins tocomeintoplay

andthisactionincreasesin amplitudeastheintensityrises.Under

properconditionsthevibratoswingcanbecomeverygreat, sothat,

whilethema

imumintensityofsoundwhichcanbe producedbyany

givenvocalapparatusisfi

ed,asenseofincreasedloudnessor emotion

maybeconveyedbymeansofa greaterswingofthevibrato.

Letitbe perfectlyclear,then,thatthenatureof thevibratoisan

on

and" off

thevoice.I

nerveim p u l s e t oht e e n t ier m u s c u l a r s y set m w h i h c a c t u aet s

notherwords,thevibratois, fromthephysiologicalstand-

point,avibrationona tension.Thenerveimpulsesshould,underproper

conditions,beapplied,atoneandthe sameinstant,tothemusclesof

t h e l a rn y

1



set.

furtherincreaseinintensityaugmentsthetensionon themuscles

7

, p harn y

a n d t h roa

, r e l e aesd a n d r e p aplid e , e t c,.v e r y r a p idly.

                                                                                                                                                                                                                                                                                                                                                                                                                                             

 

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

  



     

Thereis,ofcourse,a definitelimittothefre

uencyofthevibratoand,

undernormalconditions,thereisa normalspeed.A

nincreasedfre

uency

ofvibratoisusedfor thetrillandfor thehighspeedrunningof musical

figuresscales,chromaticscales,cadenzas,etc.

Thevibratofre

uency,(i.e.,thenumberof"

on

and"

off

impulses

persecond)isprobablyneverfoundto betoorapidin thecaseofa

truevib r a t o . I t i s o f t e n toos l o w w hn et h e t e c hinc i s f a u l t.yA

v i b r tao f r e

u e n c y i s ao bu t 6 -

. 2 p e r s eo cnd.Th efre

nideal

uency6.2was

f o u n dof r a h i g h B f l a,ts u n g f otre , o n a r e crod o f C a r u s o s v o i c .eT h e f r e -

uencyofthevibratoshouldbe thesameatallpitches.

eadingsofthevibratofre

uencyand,probably,thepitchvariation

sofoundarereliable,butno othercharacteristicta

anyrealvalueinobtainingq

enfromrecordsis of

uantitativedata.

nthepastagra e t m a n yu schread i n g s h aevb e e n t a

endesp itethe

factthatbutfewunaccompaniedtonesappearedonthe recordsofthe

greatsingers.I

tisimpossibleto obtainsufficientdatafromtherecords

ofthevoiceofany givensingertoma

esuchaninvestigationofreal

value,eveniftheotherfactorswhich rendersuchreadingsunreliable

werenotpresent.

naninvestigationofthevibrato itisnecessarythatthe singer,in

person,shouldproduceaseriesof tonesofvaryingpitchesandintensities,

andthatthesetonesshouldbe sungunderacousticalconditionswhich


canbedefinitelychec

ed.F

urthermore,theapparatususedmustbe

highlysensitive.

Theinvestigatormustalsorealizethata successfulsingerdoesnot

necessarilyusehisvoicewell successmaybedueto othercauses.A

eventhegreatestartistsvary,toa mar

gain,

eddegree,witheachtonethey

sing,andtheinvestigatormust,therefore,bein apositiontogivea

definitecriticismofeachparticulartone sung,fromthestandpointof

registrationandresonancead

ustmentaswellasvibrato.F

urthermore,

hemustbeableto distinguish,definitely,betweenthetruevibrato,the

vibratowhichhassomeofthe characteristicsofthetremolo,andthe

tremolo.A swillbe shownlater,thesephenomenacaneasilybeconfused.

nelastpointwithregard todeductionsdrawnfromrecords:The

intensityrangerecordedissolimited thatthesingeris mostunli

t o p r o dcue h i s v o i e c n o r m lal y . I

fheisane

hewillprobablyneversingvery loudorverysofttones.F

itisunli

ely

perin e c e d r eo crdin gartist

orthisreason,

e l y t h taa n y t o n e w h i c h i s s o s otfa s t o b e w i t hu ot v i b r tao w i l l

appearontherecord,despitethe factthatwhenthetoneis pianissimo

t h e v i bar t o s h u oldbeprc a t i c al ly a b s n et.As aresultofth e"

off

-

on

and

vibratoimpulse,theintensityofthetonevaries periodically(about

.2tims ep e r s e c o n d),andth e d e g r e o f t h i s i n tn es i t y vrai a t in oi s

dependentupontheloudnessofthetonebeing phonated.A tnormal

intensitythisvariationseemstobe about3-

l a t etsr e a d i n gsta

nc.I

decibels,accordingtothe

eninthelab o r a troi e s o f E l e c t r i c a l R e s e a r c h Por d u tcs ,

t i s e v i d etnt h a t t h i s i n t e n stiy v a r itai o n m utsb e a c c o m panid ebya

f l u cut a t i n oofpitch,b e c a ue sthe"

on

and" off

n e re v i m p u le ssareapp lied

tothelaryngealandpharyngealmusclesaswell astothemuscles ofthe

thora

. T h i s p ict h c h a n g e i s f a r g r e tae r t h a n n o e w o udl i m a g ie n. F o r

instance,C aruso

1

8

svibratoshowsapitch variationofasemitonein other

                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                  

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



                                                              

words,whenthissupremelygreatartistsanga full,hightonehewas

producinganintervalchangee

ualtothatof asemitonetrill.

Thepitchchangeofthe vibratocan,however,besogreatlyincreased

that,inthecase ofane

tremefortissimo,anintervalofnoless thanthree

s e m iot n e s h s ab e e n r e o crdedn o t h e o s c il lo g r p ah.(

 i i l HH

                                                                                                                     

i g . 3 3  A c o u sitc S

p e c t rm o e t reR

Well-prod ucedVoiceS

ingin gF

eadin goftheVibratoofa

            

o r t i sism o

a c h d o t ( rol i n e ) i n dci a t e s n a i nte ra vlofaq

aboutsi

e e F i g . 3 3).

im -

u a r treo f a t o n e . N toe t h a t

dotsareinvolvedinthevibrato (thepitchvariationisaboutone

                                      

andahalfwholetones).

Thee

traordinaryfeatureofthisphenomenonisthattheear hardly

seemstodetectanydefinitepitch changeatall.

newouldimaginethatanalternatingpitch changeofonetothree

semitoneswouldeffecttheearunpleasantly,especiallyinviewofthe

                                                                                                                                                                                                                                                                                                                                                                                                                                  

factthatthereis noharmonicrelationshipbetweenthehighandlow

fre

uenciesofthevibrato.Butherewe cometooneofthose interesting

psychologicalfactorswithwhichweareso oftenfacedinourstudyof

thehumanvoice.E

verygreatvoiceofwhichwehaveany recordhas

alwayshadavibrato.I

nfact,itis nothumanlypossibleforasinger to

h o l d t h e tn es i o n frot h e p r o p rea d

thora

ustm e n t s o f t h e lray n


off

, p harn y

f o r a f u l l ,rfe e t o n ewithu o t t h i s p h syi c a l r lee a s e fot h e "

on

and

and

a p p lci a t i n o o f t h e n e revi m p u les. T h u,si f h e a t t e m ptstoholdafu ll

tonewithoutvibrato,theentireresonancesystemwillactuallycollapse.

Becauseeverygreatvoicehasalwayshada vibrato,theearhascome

toassociatethevibratowitha well-producedtone.Thereforeitnotonly

acceptsthispitchchange,but re

ectsthetonewhichis steady,because

suchatoneis alwaysassociatedwithathroatytechnicand,hence,an

unpleasantq uality.

Theintensityvibratovariesfromzeroat pianissimotoabout10decibels

a t f o r tsis i m.oA

t m e z z -of o ret , i t i s a b o u t 5 d e c i b les . (

eeF ig.34A.)

Thehumanvoicediffersfromamechanicalsound-producingapparatus

inasmuchasthebrea

-downofanyonepartof thesystemwillbring

aboutachangeinthe functioningofotherpartsofthe apparatus

with

themechanicalinstrument,itwillmerelycausedistortionor totalcollapse.

Theactualeffectofthe vibrato,fromthestandpointofthelistener,

isthatheseemsto hearanenormouslyincreasedwealthoftone.This

effectisverystri

inginanauditorium,becauseof theever-changing

soundpatternsetupby theinterferencesoftheperiodicallychanging

soundofavoicewhich hasavibrato.

W h a t i s t h e i d e a l v irba t o

r e g ual r . T h e fer

tmust,inth efirstplc a e , b e a bo s l u tley

u e n c y so hu l d b e a b out6 -

. 2 p u l ssea s e c o n d .Thepitch

variationshouldbeaboutasemitoneat normalintensity.Thispitch

changemayaugmentastheintensityincreases.Theintensityfluctuation

varieswitheachindividualvoice,andgoesfrom practicallyzeroat

p i a nsis i m o t o n aune

34B.)Therisein fre

1

p e c td el y l a r g e a m o utna t f o r t issi m o . (

eeF ig.

uencyshouldalwaysoccursimultaneouslywith

9







   

    

theriseinin t e n stiy . I

thora

f thenere v i m p usle s t o t h e l ray n

arenotinph ase,th ehighfre

, p harn y

and

u e n c y pion t o f t h e vbi r a t o m ay

occuratthepoint oflowintensity.Thisis particularlytrueinthecase

ofaveryloudtone.

avitalfactorin goodq

newouldimaginethatthisphase relationwouldbe

uality,but,whilefurtherinvestigationisnecessary

beforeanydefinitestatementcanbemade,in actualpracticethisshifting

ofthehig hfre

inanymar

/ ^ ^ - - -

u e n c y pion t d o e s ntos e e m t o a fefc t t h e q u a l i t y o f t h e t n oe

e d d e ger e .

/ w ^ ~ ^

ig.34HighS

peedLv e e l -er c o r d ingsofth eV

                                                                                                 

i b r aot

This showsareadingofthei ntensityvibratoofawell-producedvoice

singingforte.Notetheevennessofthe vibrato.Thespacebetweenthehori-

zontallinesis10 d.b.Notethatthevibratovariationis abouthalfthisspace,

i.e.,5d.b.

BThisshows areadingofthecrescendoon thevibratoofawell-produced

voice.



Theaccompanyingtracingwasregisteredonthehigh speedlevel-recorder

attheBellTelephoneLaboratories.ThetonehighF

f,sungbya baritonewhose

technicwasgood,wasstartedsoftlyandswelledto fortissimo.

Thispieceofapparatusregisters,withgreat accuracyandathighspeed,

everyintensityvariation.Thereaderwillnoticethedefinite increaseinthe

intensityvariationofthevibratoasthe toneisswelled.


Thisincreaseinthe amplitudeofthevibratoproducestheeffectof afar

greateraugmentationoftheintensitythanactuallyoccurs.Therise inintensity

ofthisparticulartoneappearedto beverygreat,whiletheactual increasein

intensitythemeanbetweenthehigh andlowpointofthe vibratoatfortissimo

 

ascomparedwiththemoreor lessevenintensityofthesoft partofthetone

whichwaspracticallywithoutvibratowas relativelyslight.

thasbeenbelievedbycertain investigatorsthatthevibratoisswitchedon

li

eanorgan-stopanddoesnot varywithintensity.R

eadingstracedbythe

thattheamplitudeofthevibrato isthemainfactorin intensityregulation.

fthevibratois irregular,tooslow,hastoogreata pitchchange,or

toowideanintensityrangefor theintensityofthetonebeing sung,the

ualityofthevoiceis greatlyimpaired.Themostimportantfactors,

170

      

                                                                                                                                                                                                                                                         

highspeedlevel-recorderdefinitelyprovethefallacyofthis contentionandshow

however,seemtoberegularityandfre



uency.

                                             







    

fallthemisconceptionsaboutthe humanvoice,eveninthewritings

offamousmusicalcritics,andsomescientists,the confusionbetween

vibratoandtremoloisoneof themoststri

ing.Thevibratoisa vital

concomitantofgoodsinging.Thetremoloisa lamentablefault.

W h a t i s t h e n a t u r e fot h e t r e m olo

t c o n s itss p r i m rai l y o f a f l u tteron

constriction,i.e.,aflutterofthe tongue.O nlyathroatysingerhas a

tremolo.S uchasinger,especiallyif hepersistsindoing agreatdealof

softsinging,willprogressivelyincreasethetensionon theconstrictor

muscles.A

shecontinuestoabuse hisvoice,thistetanicflutteringmay

spreadfromthetongue,whichwillbe seentomoveinand outwith

thetremoloaction,tothej

aw,whichwillalsocomeinto sympathetic

tetanicaction.

Thistetanicmovementwhichcausesthetremolois generallyofhigher

fre

uencythanisthevibrato movementand,accordingtoourmore

recen twor

,hasafre

u e n c y fo7 t o 1 1 f l u t t res p e r s e c n o d . T h e asbo l uet

t r e mloo i s w i t h u o t i n t esni t y v aira t i n o.(

e e F i g . 3 5).

Lf

yi

ig.35A

HighS

                                   

     



  

                                                                                                                                       

peedLv e e l -er c o r d e r T r a cni g o f a n A b s o l u t e

TremoloBadlyProducedV

oice

Notethatnointensityvariationis indicated.

Thevibratoshowsanintensitycharacteristicwhichis absentinthe


tremolo.

nasm uchasthemu s c l e s o f te ht h o r a

action,onewoulde

a r e n o t i novl v d einthetrem olo

pecttheintensityvariationtobe absent,asindicated



intheseoscillograms.

Thetremoloise

tremelycommon,andisamostin

f a u l.tT e a c h e r s w h o " b u i l d o n t h e s otf,

urioustechnical

placeth evoiceinth ehead,

neglectthelowerregisterwithwomenandthe falsettowithmen,and

thosewhoforcetheirpupilsto flattenandgroovethetongueandhold it

pressedagainstthelowerteeth,will(providedthat thepupiliscon-

scientious)veryofteninducethisin

epiglottis,tongueandfinallythej

urioustetanicvibrationofthe

aw.

      

Thevibratoconsistsofa periodicallyappliednerveimpulsetoall

musclesusedinphonation,whilethetremolois merelyanin

urious,

tetanicflutteringofthewallsof theresonancecavities.O fcourse,where

thereisatremolo,tensionon theconstrictormusclesofthethroat always

occurs,sothatthemouth becomestheresonatorofthetone,andpharyn-

g e a l r eo snan cead

ustm e n t i s i m psos i b l.eT h e t r e m o l o o c crus e

withsoftandloudtones,whilethe vibratoappearsonlyatM.P.forthe

givenvoiceandthenaugmentsasthe intensityincreases.

171

           

ually

                                                                                                                                                                                                                  



  



     

ememberthatwhenthevibratoisabsent,the

                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                 

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ualityofthetone

isalwaysunpleasant.Thetrainingofthevibrato is,therefore,ofthe

utmostimportance.

Thetremoloactionoccursonlywhenthe throatisclosed,i.e.,when

thetechnicisthroaty.The truevibratoisin effectafluctuationonopen-

ingtensionandoccursonly whenopeningtensionhasbeenestablished.

Thismeansthatanadvancedstagein thetechnicaldevelopmenthas

beenreached.A



tthisstagethe tremolohasnecessarilybeeneliminated.

Theteachermustnotattemptto developthevibratobeforethisstage

hasbeenreached.I

fanyattemptismadeto developavibratofroman

absolutetremolo,theeffectwillbemerelyto engenderanunpleasant

wobbleinthevoice.

Thereis,however,atypeofvocalmovementwhichis betweenthe

vibratoandthetremolo,despitethefact thatthetruevibratoandthe

absolutetremoloareentirelydifferentphenomena.This"

tremolovibrato

movementisfarmorevigorousthantheinsipid tonguetremoloofthe

t y p ia c l r a d i o sni g e r .

orthisres ao n i t i s o f tn ep o s s i b letochan gethe

form e r i n t o a t r u e ivb r a t.oT h i s p r c o e s s i s o fet n q u i t e a s i mlpe o n e . A s

soonaspharyngealresonancead

ustmenthasbeenestablished,the

teachershould,inmostcases,be abletoco-ordinate,withoutmuchdiffi-

c u l t ,yt h e m u s u c l a r a cito n s o f t h ethora

,laryn

andton g u e i n t h eri

properphaseandamplituderelationsforthetrue vibrato.Thehundred


percentlight,softtremolomustalwaysbeentirely eliminatedandthe

tongueactionreversed,beforeanyseriousattemptcanbemade tode-

velopatruevibrato.

Whenthevoiceis"dead

s t e ayd, t h e p r c oe s s o f d v e e l oipn g a v i b rtao

mayormaynotbe adifficultone.I

nsomecases,whentheconceptof

whatcn o s t iut t e s a b e u atifu ltoneislac

arduu os.Whenthepup i l h a s b e e nu sb

ing,thep r o c essi s e

e c t e d t oni

trem ely

uriou s t e a c hni g m e t h -

ods,hemayhavedevelopedthehabitof holdingasteadytensiononthe

m u s cel s o f t h e t h roa

(espc e i a lyl o n t h e e

p i r aot r y m ucs l e s ) t o s u cha

degreethathehasbecomevirtuallymuscle-bound.Undersuchcircum-

stances,theprocessofengenderingtheconceptof afreemovementof

themusclesofthethora

isindeeddifficult.Theveryuntalentedbeginner

issometimesfoundina muscle-boundcondition.Undernormalcircum-

stances,however,wherethepupilhasacertain degreeoftalentfor

singing,thisvibratoconceptiseasily attained.A ctuallythemovement

ofthediaphragmwhichactuatesthevibratois ofverysmallamplitude,

butitcan bedefinitelysensed.

ssoonasthe necessarystageinthetechnicaldevelopmenthasbeen

reached,itisabsolutelyessentialthatwor

underta

en.V

ofthe" on

and"

p r o vd eh e l p flui s t o m a

sha

ma

*

e,

onthevibratoshouldbe

ariousdevicesmaybeemployedtoengendertheconcept

off

impu l s e o f t h e vbi r a t .oO

nee

ercisew hichhas

e t h e p u p i l sni g a v i g oor u s b u t s m ooth ,notj

accen t u a tni g t h e u p p e r t o n .eW h e n d o i n g t h i s e

er

y,

e r c ie shemust

esurethatthe diaphragmisinmotion.Thevibratomovementin-

T h e " t r e mloo v i b r tao

a n d " v i b r tao t r e m olo

a f l u t t rei n g a cito n o f t h e t n o g u e wihc h g o e s for m "

Thetruevibratoisa movementon"

opening

arebrou ghtabu otbymen asof

open ing

to"

c l o sni g

t e n soi n .

tensiononly,andtheabsolute

tremoloonconstrictiononly.

172





                                        



 



    

volvesavibrationonatension ofthemusclesofthe thora

,whichmove-

m e n t thoughslig h t  c a n a c t u lal y b e f etl. W h e n t h i s s h a

ecanbe

performedvigorouslyandsmoothly,itisoftenpossibleforthe singerto

speeditupand thuschangeitintothe semi-refle

edvibratoaction.

ometimesthevibratomaybedevelopedfromaslowwobblewhichis

a c t u tae d b y t h e m uscls eo f t h e t h oar

.I

f t h e w o blbe i s s l o w ,ht e p i t c h

chang e i s v e r y wdi e . W h e n i t i s s p e e d e d u p t o t h e d eisr e d f r e

(

uency

persecond),thepitchchangeshould becomenormal(aboutasemi-

tone)andthesensationofthe vibratomovementshouldbee

perienced.

aultymethodsofinspirationinhibitthevibratoaction.This ispar-

ticularlytrueofthepupil whoinflateshischestandbrings tensionto

bearonthemusclesof theupperribs.A

properinspirationisaccom-

plishedprimarilythroughtheinflationofthe lowerpartofthelungs,

whichengenderstensiononthemusclesof thediaphragmandthelower

ribs.I tisthesemu scleswh i chmoe vforthevib r a t .oF

orthisres ao n

anyonewho,throughfaultyteachingmethods,orbecauseofbadhabit,

inflatesandraiseshischest,must becarefullyinstructedinthe proper

meth o d o f i n s pria t i n o.I

beforethetoneisattac

f t h e m u s lce s o f t h e t h ora

a r e h e l d i n tn es i o n

ed,thevibratoactionisinhibited.The vibrato

actionmustbeinitiatedat themomentofattac

andmustpersistaslong

asthesingercontinuesto phonate.

When acorrectvibratohasbeen attained,theac


toencompassallspeedwor

uisitionoftheability

,legatosinging,andeventhetrill, becomes

uiteasimplematter,which,in thelastanalysis,isdependentsolely

uponthesinger

sear.Byearis meanttheabilitytoconceive,as asingle,

co-ordinated,muscle-controllingunit,groupsoftones(musicalphrases),

eachtonewithitsown pitch,q

uality,intensityandduration.

neofthemostvicious practicesofthesingerwhosetechnic isfaulty,

isslurring.Theunderlyingprincipleof singingistheproductionof musi-

caltones,andmorethanthis, musicalfiguresandphrases.A

figureisasmall groupofnotes.O

mu sical

neormoreof thesegroupscomprisea

melody.Themusicalphrase(theendofthe phraseisalwaysmar

ed

withacadence)generallyconsistsofa farwidergroupofnotes.W

hether

itbethesingle noteorthegroupof notesformingthemusicalfigure

o r t h e p h rsae , e a h c n o t e h a s i n i te s l f a d e fni i t e p ict h o r f r e

u e n c,ye

forthevibratovariation.W henplayingthepiano,onecan onlystri

thekeys,andalthu o g h i t i s p os i b l e t o srti

cept

e

e a w r o n g k e y , i t i s n o t p o s sbi l e

t o p l a y b tew e n e t h e k e y s . I n o t h e r w rod s , e c ah t i m e a k e y o n a p i a n o i s

struc

,asoundoffi

e d p i t c h o r fer

uencyisem itted , a n d t h i s fer

u e ny c

cannotbeprogressivelymodified,i.e.,eithersharpedorflatted.

Thesinger,incompanywiththeviolinist,etc., is,unhappily,notin

thesamefortunatecircumstancesasthepianistor theperformeronany

o t h e r k e y e d i n s tur m e n t . H e c a n s l u.rH e c a n a t a n y mm o ent,s ep e cai l l y

whenchangingpitch,slidefromonetone tothene

thepitchwithoutintermediatenoises.I

tinsteadofchanging

tis,ofcourse,apparent,from

theaestheticstandpoint,thatthesingershouldnever,under anycircum-

s t a ne c s , s l u.rI

n f a c t , a r e lal y w el l- p r d o uc edo vicefun ction sli

instrument,andhasdefiniteandclearlydefinedad

(e

ceptforvibratovariation),q

Whiletheq

eak

eyed

ustmentsofpitch

ualityandintensityforeachsemitone.

u a l iyt a n d i n t n esitym a y b e v a rei d , t h e ptic h a d

ustm ent

shouldalwaysoccurinsemitonestepswith absolutelynothinginbetween.

173

                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                               

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                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                          

llbadlytaughtsingersslur, asdopracticallyallbeginners.Badlytrained

singers,however,aregenerallytheworstoffendersinthisdirection.I

n

thecaseofa singerwhosehightonesareincorrectlyproducedand out

ofresonancead

ustment,thestruggleinvolvedintheattemptto produce

thesetonesengenders,inhissubconsciousmind,a senseoffear,or

inhibition.S

uchinhibitioninevitablyresultsinslurring.There isonlyone

wayinwhichslurringcan beeliminatedbymeansof thevibrato.Lac

ofvibratoalwayscausesslurring.

Theslurmaybedefinedas asmoothslideinfre

uency,whereas,when

thetechniciscorrect, changesofpitchareaccomplishedbymeansof the

vibratomechanismwhichenablesthesingertoclimb upordownthescale

insteps.

Duringphonation,whetherononetoneorover aseriesoftones,the

beatofthevibratoshouldcontinueuninterrupted,unlessa consonant

intervenes.I

tisthis vibratomovementwhichallowsthevoicetomove

fromtn oetotonew ithou tslurrin g,stopingorj

fromonetonetoanothermust ta

Duringthe"

off

ethee

a c t u tae t h e t o n gueta

systm e forthene

i n g . T h erta n stii o n

phaseofthevibrato,thelaryngealand pharyngealmus-

c l e s a r e r lea t i e vlyrela ed,andth ene

cordstota

er

eplaceinthe spaceofonevibrato.

t"

on

a c t t e niso n f o r t h ene

impu lseallw o s t h e v oa cl

t t o n e w hl ie t h e m ucs l e s w hci h

e o n t h e i r t esni o n , ad n"

p o s iito n

theresn oance

ttoneinallitsch a r a cet r i sitc s . A s t h e s i ne gr m o v s eu p


arisingmusicalfigure,the vibratoimpulsewhichraisesthepitch and

intensitymustbeaugmented.

tispossib l e t o o b t ian e

actad

u s t mn et s a n d a o v i d s l urri n g o nyl w h e n

thismovementonthevibratois inculcated.Thee

actshapingofthe

resonancecavitiesdependsuponthementalconceptofpitch, timbre

andintensity,andthemusclescan onlyrespondtothisconceptif they

areinwhatmightbe termeda"

fluid

condition.Thevibratomaintains

allthemusclesusedin phonationinthis"

fluid,

ormoving,condition.

neofthemostvital phasesofsingingisperfectionof timeand

rhythm.When thevoiceisproducedproperly,theregularityof thevibrato

isnearlymechanicallyperfect.H

ence,thesingerwithaproper vibrato

becomesasortofhumanmetronome.E

achnoteina musicalphrasehas

acertaintimespot.The minimumlengthoftimeawell-producedtone

canbeheldisn o e v i b rtao  a b o u t a s i

t h o f a s e c od n. I

tcanalsobe

heldanylengthoftime whichisawholenumbertimesone vibrato.I

cannotbeheldforpart ofonevibrato.Thetimebetweentonesis fi

t

ed

irrespectiveofthetempoi tisonevibrato.Thus,in singingamusical

phrase,eachnoteinthe music,accordingtoitsvalue,is heldforone,

two,threeormorevibratos.W

singershoulde

hereasluris indicatedonthemusicthe

ecuteadefinitediatonicor chromaticrunonthevibrato.

nsingingscales,orany otherformofrapidphonation,theentire

runmustbeaccomplishedonthe vibrato,andwheree

wor

iscalld e f o r , t h e vbi r a t o cn ab e q

especiallywhenthevoiceisa lightone.I

tremelyrapid

u i t e a p r e c ib al y s p ed ee d u p ,

nanycase,verygreatspeed

canbeobtainedwhenthesinger haslearnedtorunon thevibrato,and

inthesecircumstances,eachandeverytonewill beperfectlyclearand

distinctandtherewillbe noslurbetweentones.Thisis howthe"

run

pearly

effectisaccomplished.

fasingertries tomoveoveramusicalfigureor phrasewithoutvibrato,

174



 



    

hehasnotime-gaugeforthe valueofeachtone,andhe will,therefore,

inevitablyslur,becauseheisuncertainas tothee

actmomentatwhich

heisto changethepitch.

tistransparentthat,if asingerslursfromone tonetoanother,the

reson ancead

ustm e n t m utsb e f a u l t yof r o n e o r b oht o f t h e t o nse. I

weretoholdthead

ustmentforthefirsttone,the secondtone,which

shouldhaveadifferentad

spea

fhe

ustment,wouldbeoutofad

ustment.Generally

ing,hw o e vre, t h e s i n g e r w h o s lrus w i l l n o t h lod t h e a d

u s t mn et o f

thelowertone,butwillactually gointoconstrictionashe pushesorforces

hisvoiceupthe scale.

Thetrillalsois dependentuponthevibratoaction.I

s p e ee dd - u p ,e

tisvirtuallya

a g g rea t e d ivb r aot , w h i h c h a s b e e n r fel e

ed"

refle ed

because,whilethespeedofthevibratoc an,withincertainlimits,be

r e g ual t e d ,ht e s p e d eofthetrillisfi

edforagivn e v o i c .eI

tisprobb ale

thatboththelaryngealandthe pharyngealmovementsaregreaterin

proportiontothemovementofthethora

forthetrillthan forthevibrato.

Unfortunately,imitationsofvibratorunsandtrillscan bemadewith

thetrem olo.Th e r e s u lat n t e fef c t i s a s

uea

y , l i t tel r u n - u pof r t h e s c ael ,

andatremorforthe trill.

nepointregardingvibratoandtremolomustbe emphasized.

irtuallyeverypupilstartswitheither someformoftremolo,orwith

a"

dead -sted ay

t o n .eO

n l y a w e l-lp r ou dc e d v ioc e h a s a t r u e ivb r aot .


Whenthe"

d e a ds-t e a d y

hasbeencompletely"

spontaneously.I

tone,w hichisalw a y s m oer o r l e s s t h raot y ,

openedup,

thevibratonearlyalwaysappears

fitdoesnot doso,itis arelativelysimplematter

forthepupilto bringitintoaction.

ctuallythereisseldom,if ever,

anydifficultywiththevibratowithvoices whichhavebeenreally

open edup.

liminationofTremolo

Theeliminationofthetremolois,then,one ofthefirstproblems

tobewor

edoutintraining thevoice.Thetremologenerally

emanatesfromalac

ande

rela

ofdevelopmentofthegenio-glossusmuscle

cessivetensionontheantagonistictonguemuscles,alsofrom

a t i o n o fht e g e n i-oh y iod m u s cel , f r o m a t tea n i c q u i v e r o f t h e

aw,orfromacombinationofthese causes.Thetongueinstrument

a n d t h e l itfi n g o f t h e hoyi d b o n e a r e o f g r e tav a l u e i n c h ec

tremolo,butwhereitis seatedinthej

                                                                                                                                                                                                                       





                                                                                            

ingthe

  

aw,thecompleteopeningof

thismembershouldeliminateit.Tremoloisnearly alwaysassociated

w i t h t h e lco

whenth ej

175

, o r m i d del , p o stii o n o f t h e j a w , a l t h o u g hitcanoccur

a w i s c l oe s d , o r n e ral y c l oe sd.

                                                                                                                           







    

  iolentTremolos

                                                                                                     

ometimesthetremoloactionissopronouncedthat itinvolves

theentiresuspensionofthelaryn

.Undersuchcircumstancesall

themanipulationswhichcanbeemployedshouldbebrought to

bearontheeliminationofthis shoc

apitche

ingwobble,whichmayhave

c u r s in oo f a f i f t h o r e e v n m o r .e

Thereisalsoa violenttremolowhichseemstobeseatedin the

laryn

a n d i s p r oa bb l y a r eu sltofe

c e s svi e t e niso n o n t h e t h yro-

arytenoidmuscles.Thistremoloistheresult ofavirulentformof

muscularmi

edregistrationandiseliminatedas soonaspureregis-

trationhasbeenestablished.

u a l iyt , V o i c e M v oemn e t a n d R e p r o d u cito n

nregardtosingingon theradioandforthe recordsandmovies,

thereisnotverymuch tobesaidhere.Poweris notafactorin

reproduction,becausetheamountofenergydeliveredtotheam-

plifierdependsuponthesettingof theinputcontrol,whichis

regulatedaccordingtotheloudnessofthe singer

    

svoice.W eare,

therefore,onlyreproducingpitch,vowel,movementand,ofcourse,

                                                                                                                                                                                                                                                     

consonants.

uality,i.e.,pleasantorunpleasantq

uality,doesnotdepend

primarilyuponthespectrum,butratherupon pitchandintensity

movementsintime.I

tispossiblethat changesofspectrummayoccur


duringthevibratocycle,butfurther researchisnecessarybefore

anythingmorecanbesaidon thissub

ect.Thefactremains,how-

ever,thatifthemovementisregular, oftheproperfre

si

uency,i.e.,

asecond,andofthe properamplitudefortheintensity,andif

themiddlepitchofthe vibratoisconstant(i.e.,thepitchis

teredproperly)theq

cen-

ualityispleasing.Now,unfortunately,agentle

tremoloisveryregularand,providedthatthe voiceisnotpushed,

themiddlepitchofthis movementmayberelativelyconstant.This

iswhytheradiocrooner soundsrathernice,providedthathenever

attemptstosingoutloud.O

fcourse,ifhe doestrytodoso, the

laryngealmusclesdonotholdand thearytenoidcartilages"

withtheresultthatthe pitchstartstowander,andthe

give,

uality

becomesdefinitelyunpleasant.

17



  

      

     DifferenceofV

ibratofromTremolo

Thesingerwhosevoiceisthroatyand hasatremolomaintains

thisflu t t e r i n h i s v ioc e a l l t h e tm i eheissing ing.I

t i s m o r e o r l es

constantoverhisentire verylimitedintensityrange.Thesinger

whosevoiceisproducedproperly,however,hasvirtuallynomove-

mentatpianissimo.A

a p p era. A

tM.

sheswellsthe tone,thevibratostartsto

.itisaboutasem i t o n .eA

muchasawholetone.F

e

orallnormal,full,freesinging thepitch

c u r soi n o f t h e v i b ratoisalm oste

inten sitye

t f o r t i sism o i t m a y b e s a

actlyasm e i t oe n, w h iel t h e

c u r soi n i s f r o m t h r e e t o f ie v d e c i b les . F o r e

effc et s t h e p i th ce

t r e mley l o u d

c u r s in om a y b e a s m u chasthreesm e itn oes.(

i g . 3 3).

i b r aot i n R

e p r ou dc t i n o

With theoldacousticalmethodofrecording,whenthere wasno

ee

                                                                                                                         

amplifierandnoinputcontrol,the singerhadtoregulatethe loud-

  

nesshimselfbymovingintoor awayfromthehorn.Becausethe

intensityrangewhichcouldberecordedwas verylimited,itwas

necessaryforhimtobecomehighlyproficientin thesemovements.

Nevertheless,thisproceduremadeitimpossibleforthevibratoto

bereproducedfaithfully.

norderthatthe amplitudeofthevibratomaybefaithfullyrepro-

duced,itisessentialthat theintensityshouldnotbe monitored.


Thus,ifthesingermovedcloser tothehornfor asofttone,the

reproducedsoundwasfarlouderin theintensityscalethanhewas

actuallysinging.H

ence,everytimehemovedtowardsthehorn,

thetonewhichwasreproducedhadtoo littlevibratoforits in-

tensity.I

nversely,whenhemovedawayfromthehorn,theintensity

wasverymuchreduced.Therefore,theamplitudeofthevibrato

wastoowideforthe loudnessofthetonewhenit wasreproduced.

twas,ofcourse,impossibleforhim toavoidthesemovements,

towardsandawayfromthehorn,becauseif hehadremainedsta-

tionary,andfarenoughawayfromitnot toovercutthegroovefor

hisloudesttones,thesofttones wouldhavebeenentirelysubmerged

bysurfacenoise,andthereforeinaudible.

Theoldrecords,therefore,donotshowthe properamplitude

ofthevibratoforthe intensitybeingsung.Thiseffectwasaggra-

vatedbecauseofthee

tremelyhighsurfacenoise.F

urthermore,

thesoftertoneswerethen,inevitablyfartoo loudincomparison

withthelouderones.F

orthisreason,therecords ofthevoicesof

thegreatsingersofthe pastoftenshowwhatseemstobe toolittle

movementfortherelativeintensityofthetone beingsung.This

177

                                                                                                                                                                                                                                                                                                                     





   

    

i s e s p e ica l l y tur e o f w o m enandisstri inglye

recordsofE

                      

e m pi lf i e d o n t h e

mmyDestinn,probablythegreatestwomansingerever

   

heard.

GreatVoicesRelativelySteady

A

                                                                                                                                                                                                                                                                                                                                      

greatvoiceisgenerallyfarsteadier thanathroatyone,anda

perceptiblevibratomovementoccursonlywhentheintensityrises

abovepianissimo.V irtuallyeverysingertodayhasmuchtoo much

movement,andthisisespeciallytrueat lowintensity.Thebasic

toneshouldnotbea wobble.Whenthe technicisgood,it isfirmand

thepitchisabsolutelydefined.

Thesefactsmustbebornein mindwhenlisteningtotherecord-

ingsofthegreat singersofthepast,becausetheserecords wereall

madebytheoldacousticalmethod.Theirvoices areapttosound

ratherdead.Thiswasmostemphaticallynottrue inlife then-

v i b r tao c o n tor l w a s e

celln et.I

nlisten ingtoths ee r e c odr s , t h e dsi-

tortionofthevibrato,aswell asthefailureto reproducethehigher

fre

uencies,andtheirregularspeedof theturntableintherecord-

ingmechanism,mustbeta

enintoaccount.Nevertheless,thein-

telligentlistenershouldbeableto detecttheincredibledifference

betw e e n t h e v ioc e s o f s u c h s i n g res a s C a r u s,oD e s t i n , M e l b a,K ir

Lunn,S

by

ammarco,etc.,andthoseofthebestsingers oftoday.

Thereadershouldlisten,fore

ample,fortheprecisionofintona-


tion,theperfectionofattac

,thecontinuityofthe musicalline,the

definitionofintensityforeachtonein amusicalphrase,thevibrato-

regulatedintensitycontrol,thelegitimate,openpianissimo,the

rhythmicphrasingandtheflowandmovementofthe voicefromtone

totone.h T e m o s t srti

i n g d i fefr e n e c l i e s p e ra hp s i n t h e l a c

andinthefc at t h a t e ah c t o n e i n a m eol d i c l i n eisstruc

ofslur

inthe

centerofpitchandheld atconstantintensity,foritsentire time

spot,withoutpitchorintensityvariation.Thesingers oftodayslur

into,andoutof,practicallyeverytone,and theyk

eeponchanging

theloudnessofeachindividualtonein amusicalphrase.Thisis

notsingingmusicatall. Moreofthislater.

o l o r tau r a T c eh n i c V

Theconstricted,"

s

i b r aot a n d T r e m olo

uea

voice

formofsingingwhichemanates

fromtheso-calledcoloraturasopranomovesonthetremolo.S

c o l oar t u r s ar u n o n t h e t r m e o l ,ot r e m loo t h e i r tirl l s , a n ds

staccati.F

e

178

lutteringupanddownis notrunningascale.A

uch

uea

their

properly

e c u td er u n m o vseo n t h e v i b rtao . W h e n t h e v i bar t o i s i n p r p oer

   

                                                      

 



    

                              

control,allrunscan bemadelegitimatelyandwithoutdifficulty.

Thesingerwhousesa throatytremoloshouldnotbeallowedto

attemptrunsuntilshehas learnedhowtosing.

PianissimoS inging

 

Therehasbeenagreat dealofdiscussionaboutpianissimosing-

ing.Nopupilshouldsing softlyuntilpharyngealresonancead

ust-

                                                                                                                                                                                                                                                                                                                                                                                                           

mentiscompletelyestablished.Thereisnothingso technically

destructiveasillegitimate,softsinging.Thethroatysingercan

s

u e ee zofftheton ewithhisnc e

summ a t e e ae s.I

andton g u e m ucs l e s w iht c o n -

t i s f a r e a s i ref o r h i m t o s i n gasoftthanalu odtone.

Theinverseistruewhenthe voiceis"

openedup

not throaty.

Thisisnotonly becausethecontrolofintensityshouldbe afunction

ofthelaryngealmuscles,notofthe nec

andtonguemuscles,but

alsobecausethereisvirtuallyno vibratoinasoft tone,andatone

sungwithoutthemuscularreleaseofthe vibratoactiondemandsa

definitelyaugmentedmusculareffortandcontrol.I

ndecreasingthe

intensitythebalanceofarytenoidtothyroidtension becomes

greaterandtheglottisopensslightly,so thatthebreathe

becom e s h i g hre.

pulsion

norderth a t t h e b r etah p r e su sremaybem ain-

tainedagainstalessclosed valve(glottis),thetensiononthebreath-

ingmusclesmustbeaugmented.F

urthermore,becausethe

balanceoftensionbetweenthethyroidandarytenoidmusclesin the

laryn


chang esastheintensity decreases,andbecausethisbalance

isaboutthesamefor apianissimotoneasit wouldbeforafull

toneaboutfoursemitoneshigher,itis impossibleforthesinger

toproducealegitimatepianissimotoneat apitchwhichis higher

thanaboutfoursemitoneslowerthanthehighest tonehe-cansing

fortew ithan" open

techn i c . M oer o v re, i t i s i m p os i b l e froh i m t o

singlegitimatepianissimotonesatalluntil

completelyestablished.I

opening

hasbeen

fheattemptstodo sobeforehistechnic

hasreachedthenecessarystageoflaryngealand pharyngeal

(tongue)development,hewillinevitablyusethenec

andreversed

tonguecontrolandproduceabsolutelythroatytones,therebycom-

pletelydestroyinghisvoice.O

neofthegreatestbaritoneslost his

voiceinafewmonthsbecause hetriedtogivelieder recitalsinwhich

hesangmezzavocemostof thetime.Thismezzavocewasproduced

bymeansofconstriction,withtheresult thathisvoice"

shutoff

completelyandheneversangafree toneagain.

A

*

179

properlyproduced,pianissimotoneisverybeautiful,andcon-

e e S c i e ne c o f V o i c e, D o g ul a sS

tan l e ,yC a r l F

ish e r , I n c . , Ne w Y o r

.

           







   

    

veysmanyintenselypoignantinterpretiveeffects.I

somethingofatourde force.Theeffortre

                                                              

tis,however,

uiredtosingan entire

songpianissimoisatleast asgreatasit wouldbetosingit trans-

posedu pfoursem itons e. E v e n t h e ger a t s et s i n g rei s u n l i

elyto

beabletomaintainthis leveloftensionthroughoutarecital.

onstrictionParticularlyDestructivetoGreatV

oices

                                                                                                                                                           

t i s w e l l t o p oni t o u t t h a t te hr e s u l t i s f ram o r e d e d a l y w hn ea

g r e a,tr e a l l y " o p e n ,

intoconstriction.H

v o i c e ta hn w h e n a p rat l y " o p e n

voiceg oes

ighlydeveloped,openingmusclesarebalanced

bydevelopedantagonisticmuscles.F

orthisreason,whenan"

voiceproducesathroatytone,it ise

tremelythroaty.Thisiswhy

open

agreatvoiceis soveryrapidlydestroyedbyincompetentteaching.

Teachersoftodaywho"

un

shutoff

theirpupil

svoicesdeliberately,

nowinglycandestroygreat,contemporary,naturalvoicesbefore

theyhavehadtimetodevelop.O

train ing.I

fC

nlymediocrevoicessurvivesuch

aruso svoicehd a g o n e i n t o cn os t r i tci o n i t w u o l d h ae v

beencompletelyeliminated.I

fE

mmyDestinnhadfallenintothe

handsofateacherwhoeliminatedher lowerregisterandmadeher

focus

h e r v o ie cinthe"

o n t r loo f I

mas

ue

sheneverwu o l d h a v eu sngatall.

n t e nist y

Thefully-trainedvoicecansingat virtuallyanylevelofintensity,

andcangraduallyswellthetone frompianissimotofortissimoand


thendecresendotopianissimoagainona perfectlyevenlinewith-

outanytransitionofq

uality,andwithout,atanytime,goinginto con-

striction.Thesingersoftodaygenerallyhavea loudvoice(notvery

l o u d ) ad na m e z z a v c o e , w hci h i s m e r eyl a t r i c

absoluteconstriction,inamoreor lessmi

ofs

uea

ing,in

edregister.Thesetwo

                                                                                                                                                                                                                                

methodsofproductionareunrelatedandsuchsingers areunable

toswellthetonewithouta pronouncedq ualitytransition.They

neversingalegitimate,pianissimotone.Theymerely"

t o n e off

withth eirtong uesandnc e

cho

ethe

s . T h i,sm o s t e m p h a tci a l l ,yi s

notsingingpianissimo.Manyofthemostsuccessful singersoftoday

gothroughentirerecitalswiththis nec

technic.Letitbe emphasizedagain:I

-controlled,mezza-voce

tisa factthatitis impossible

foranyonetosinga legitimatepianissimotoneunlesshecansing

anabsolutelyopenfortissimotone,atleastfour semitoneshigher.

Thecommentofacritic whostatesthatasinger

smezzavoceis

beautiful,butthatheforceshis voicewhenhesingsloudlyis absurd.

ismezzavocemustbe completelythroaty.Theloudtones,derived

180



 

fromthistechnic,areob

tionbecomesverymi

ectionabletotheearbecausetheregistra-

edandthethroatinessbecomesapparent,

eventotheuninitiated,atthe higherintensitylevel.

Whenthevoiceis"openedup

andreg i s t e rd ep r o p rel y , i t i s n o t

difficultforthepupilto producepianissimotones.A

l e a r n t o d o i s t otso p t h e v irba t o a n d " h o l d ,

creasingthewor

llhehasto

orwor

, h a r d re, i n -

byaboutthesameamountthatwouldbe de-

mandedfortheproductionofa tonefoursemitoneshigherthan

theoneheis singing.

Legitimatecontrolofintensitydepends,then,uponpure,devel-

oped,balancedregistration,abilityto"

ad

hold

pharyngealresonance

ustmentatallintensities,anduponc ontrolovertheamplitude

ofthevibrato.

a l s etto a n d V i b r a t o ( M ael )

Becausethefalsetto,intheman

svoice,ispianissimo,or softer,

overmostofhissinging range,thevibratoshouldalwaysbevir-

tuallyabsentfromthisregister.I

tshouldalwaysbesungwithout

anymovementatallbelowabouthighB. Thus,in"

thefalsetto,

goingthrough

thefalsettotoneshouldbesung firmlywithoutany

movementwhatever,e

ceptfortheveryhigh tones.Mostbeginners

singtheirfalsettotoneswitha definitetremoloaction.Thistremolo

mustbeeliminated,orthelower-registertone,derivedfromsuch


afalsettotone,willbethroaty andwillhaveaverypronounced

tremolo.A llmi

ed-falsettosingersuseadefinite,andoftena pro-

n o u ne cd,trm e o l o a tci o n a t a l l tm i es,ora"dead

t r e mloo m a

esami

stead ytone.h Te

e d - flas e tot t o n e s o u ndmoreli

especiallyinreproduction.A

e a r e a l t o n ,e

properly-producedfalsettotonebelow

highDdoesnot soundli

erealsingingwhenit isunco-ordinated

withthelowerregister.W

henitdoes,it isthroaty,hasatremolo

andisnotlegitimatesinging atall.Undersuchconditionsit is

alwaysmi

edandhasanirri tatinglyeffeminatesound.

a l s etto a n d V i b r a t o (

Thewoman

e m ael )

sfalsettoshouldhavenomovementforthe low

tones,butbecauseshesingsan octavehigherthanaman,she will

singlegitimatelyinthefalsettoregisterat aboutmiddleB,atM.P.

Therefore,atthispitch,somevibratois desirable.A

bovethispitch

adefinitevibratoshouldbepresentand itsamplitudeshoulddepend

upontheloudnessofthetone.

tshouldnotbe toopronounced,

unlessaveryfulltone issung,andsuch atonewouldnotbe sung

inthefalsettobelowaboutF

1

1

#,onthetopline ofthetrebleclef.

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    

                                              

gainmostvoiceshavefar toomuchmovement.O urprincipal

problemwithregardtomovementliesin theeliminationoftremolo

a n d i n t h e c utti n g d o w nofe

c e s svi e v i b rtao . I

n m o s t c ae ssthe

vibratoappearsmoreorlessautomaticallyassoon asreal"

opening

tensionhasbeenestablished.

182








   

    

h a p tre1 1

M X E

When mi

D R E G S TR A T

O N

edregistrationoccurs,thetensionis addedtothearyte-

noidandthethyroidmusclessimultaneously,duringtheswelling

ofthetone,while,whentheregistrationis pure,theaddedtension

isfirstta



enupbythe arytenoidmuscles,therebyholdingthe



arytenoidcartilagesfirmlyinposition,andthen,at acertaininten-

sity,dependinguponthepitch,theadded tensionista

enupby

 

anincreaseintensionon thethyroidmuscles.Thetensiononthe

arytenoidmusclesmustincreaseasthepitch rises,becausethevocal

cordsarestretchedathigher tensionforthehigherpitches,and,

therefore,the"

hold

onthearytenoidcartilagesmustbe augmented.

Thisiswhythe falsettoactionbecomesmoreimportant,andmore

prominent,asthepitchrises.This theoryseemstobesupported

stronglybytheefficacyofthe laryngealmanipulations.

o w eevr , t h i s e

p l a ntai o n o f t h e p henm o enaofm i


demandsfurtherelucidation.

L e n ght a n d T e niso n o f V o c a l C

o r d s C o n t r o l s Ptic h

Thefundamentalpitchgeneratedbythevocalcordsdepends

u p o n t hier l e n ght a n d t e niso n . I

ftheleng thisk

e p t c o ntsa n t a n d

thetensionisincreased,thepitch rises:Thepitchis proportional

totheten sion.I ftheleng thincra e s e s a n d te ht e n s in oi s k


eptcon-

stant,thepitchdrops:Thepitch isinverselyproportionaltothe

length.H owever,whenthetensionincreases,thecordswould

lengthen,providedthatsomeothermechanismdidnotcomeinto

playforthepurposeof shorteningthem.Theproblemis,therefore,

somw e hatcm o ple

.

Thyro-arytenoidMuscles

Thevocalcordsarecontrolledby muscleswhichcanstretch

them,shortenthemorstretchandshorten thematthesametime.

Thecrico-thyroidmusclesstretchthem.Thethyro-arytenoidmus-

c l e s s h rot e n t h m e .(

eeF igs.2& 3

. ) T h ee s m u s c lse, w h i c h rae

                                                                                

situatedinthecordsthemselves,shortenthemwhenthey contract,

183

                                                                                                                            





    

          

i.e.,comeintotension.A

                                                                                                                                                                                                                                                           

tthesametime,theypull againstare

antagonistictoboththe crico-thyroidandthearytenoidmuscles.

ere,then,wehaveamostsignificantfact:

nesetofmuscles,

whichcanraisethepitch byshorteningthevocalcords,is antagonis-

tictoboththe crico-thyroidandthearytenoidmuscleswhichstretch

t he m .(

e e F i g. 3

.)

f t h e r i s e i n p ict h w e r e l o

e d a f t reb y t h e s t r ecth i n g a tci o n o f

thecrico-thyroidandarytenoidmusclesalone,thecordswould

merelylengthenasthepitchrose.

-raypicturesofthevocal cords

inactionindicatethatthis isnotthecase andthat,actually,they

shorten.I

tisapparent,then,thatstrong thyro-arytenoidactionmust

occur.Theproblemis:H

owmuchthyro-arytenoidactionshould

occurwhenthetechnicis good,andhowmuchoccurswhenit is

f a u lyt  m i


- r a y p i tcu r e s w h i c h h aevb e e n t a

e n u p t o d a t e rae o f l i t t l e ro

novalueinelucidatingthis problem,becausetheywereta

enindis-

criminately,withouttherecordingofanydataregardingthe tech-

nicalcharacteristicsofthetones beingproduced.I

fthisresearch

weretobecarriedout underproperconditions,muchmightbe

learned,andwouldundoubtedlyshowthatthevocalcordsare longer

whenthetechnic(registration)isgood thanwhenitisfaulty

(mi

ed).Totestthisstatementit wouldbenecessarytofindsub-


ectswh ocouldprd o u c e b toh g o o d a n d t h r o tay  p r e f ear b l y " s

uea

voice hightonesandw h o c o udl d o t h i s u n dret h e p h yisc a l c o n -

ditionsnecessaryfortheta

ingofthepictures.

uilib r i u m o f L ayr n g a e l M u s cel s

This,then,iswhatprobablyoccurswhenthe technicisgood:

Thelaryngealmusclesareine

uilibrium.Thearytenoidmusclesare

strongstrongenoughto holdthearytenoidcartilagesfirmlyin

positionsothattheynever"

give.

Thecrico-thyroidmusclesstretch

thevocalcordsforthe givenpitchtothema

imumpossibledegree.

Thethyro-arytenoidactionneveroutpullsthearytenoidtension

andatthesm a e t i m e blaa n c s et h e c r i c -ot h yor i d p u l.l(

eeF ig.3

   

,

B&C.)

Mi

edR

                                                                              

egistrationandThyro-arytenoidMuscles

ntheotherhand,it appearsveryprobablethat,whenthetechnic

isfaultyandtheregistrationmi

e

ed,thethyro-arytenoidpullis

c e s svi e , wtih t h e r e s u ltthatit"outpulls

t h e c r io c - t hryo i d t e n sion,

andthereforeover-shortensthecords,andatthe sametimeover-

coms et h e a r y tn eo i d " h o l d

184

s o t h a t t h e ray t e n o i d c a ritl a g s e"

give.

                                                          





   

    





Thisactioncouldoccurto anydegree.Thus,anydegreeofmi

registrationcanbepresent.W

henmi

                                                                                                                                                                                                                                                             

ed

edregistrationispresent,the

otherlaryngealmuscles(crico-thyroidandarytenoid)neverhavea

chancetodevelopand,inactual practice,areputmoreandmore

o u t o f a cito n a s t h e m i

onthenec

t u r e i n rce a s s e. A t t h e s a m e tm i etheten sion

m u s cel s i n c r a e s e s wtih e a c h i n rce a s e i n te hm i

oftheregistration(e

ture

cessivethyro-arytenoidaction)becausethese

musclesperformthefunctionwhichshouldbelongto thearytenoid

muscles.Thelouderthepupil,whoseregistrationis mi

ed,singsthe

morepronounceddoesthisconditionbecome.Thus,asthe e

thyro-arytenoidactionaugments,thetensiononthenec

cessive

muscles

alsoincreasesandthevoice,whichdeterioratesveryrapidly indeed,

isultimatelyaltogetherruined.

nviewofth efactthate

c e s svi e t h y r-oa r yetn o i d t n esionp ulls

againstboththestretchingactionof thecrico-thyroidmusclesand,

atthesam e t i m e , aa gi n s t t h e"

cles,w ewoulde

h o l dni g

registrationwheneveroneregisterismi

t h e c a s .eM i

actin o o f t h e a r yet n odi m u s -

p e c t t o f id nt h a t b o t h rg ei s t res p a r t a

eofmi

ed

ed.Thisisactuallyalways

t u r e o f b toh r e g itse r s c a n por g r essu n t i l a p o itni s

reachedatwhichtheregistrationactionentirely disappears.When

thisstagehasbeenreached,the voiceisvirtuallydestroyed,be-

causethesingercanonly producesoundsnoises ofamostun-


pleasantq

uality.Thephysicaldistortionswhichaccompanythis

conditionaree

in

tremelydistressingand,inmanycases,physical

u r y er s u l t s. (

Muscu larEx

eeFig.3

D.)

p l a n tai o n o f O c t a v e R e f l e c t i n o

Thistheorygivesapossiblee

planationoftheoctavereflection

betweenthetworegisters.Letussupposethat, whenthepitchis

raisedanoctave,thelengthof thevocalcordsis reducedtohalf.

Thenthetensionre

uiredonthecrico-thyroidandarytenoidmus-

clestoholdthe vocalcordsintensionfor thispitch,wouldbethe

sameasth atre

u i r e d t o hlod t h e m i n t n e s i o n a t du ob l e t h e ln eg t h

f o r t h e o cat v e b leo w . T h ema

imum"hold

betw e e n t h eest w o

groupsofmuscles,whichcanbe attainedatanygivenstageof

development,isdeterminedbythehighesttonewhichcanbe sung

inthelowerregister.This samestageofmusculardevelopment

wouldthen,underthesecircumstances,allowthesingerto produce

atoneinthe falsettoe

actlyoneoctavehigher,withthevocal cords

athalfthelength,and nomore.I

e

tseemstobe thefirstsatisfactory

planationoftheoctavereflectionbetweentheregisters

andthis

octavereflectionisfact.

185



                                                                                                                                                                           

TH

-A

MU

T

NO

 

D

   

C L

A R Y T

C

A

R

C

R

I C

NO I D

T LA

A R Y T

MU

C

F A

G

'

  

O -

NO I D

L

C E

                      

T fo r

articulationwith

thethyroidcart-

ila ge.(eeF

ig.2

forsideviewof

laryn

,show ing

thyroidcartilage



          

  



partiallycovering

             



  

cricoidcartilage).

        

V O C A L C O R D

Thyro-arytenoidtension

A R Y T

NO I

D E ND

                                                                                                                                                                                                                                                                                                                                                                              

rico-arytenoid

tension

TH

DE

ND


rico-thyroid

tension

P

I

TC H

NT

N

ig.3

I

T

Larynga e l T e n soi n s f o r Ptic h A d

u s t mn et a n d I

n t e nist y

ugmentation

Thisshowsasim p l i f id ev e r t i a clcrosssc e t i o n o f te hp a r t s o f t h elaryn

f o r p i th cad

used

u s t mn et a n d a l s o h sowsth e s c h e mtai c f o r m uesd i n B , C a n d D t o e

inten s i t y a um g e n ttai o n . h Teterm s"

arytn eoiden d

a n d " t h y riod e n d

plain

refertoth e

endsofthevocalcords controlledbythecrico-arytenoidmusclesandthecrico-

thyroidmuscles.A

lsoarrowsindicateforcesor

pulls,

notmovement,duringpho-

nation.

Therearandbottompartof thethyroidcartilagepro

lageatthefacetfor articulation,showninA

.Thisj

ectsintothecricoid carti-

oiningallowsthecricoidcarti-

lagetorotateatthis facet.Therefore,whenthecrico-thyroidmusclesaretensed,

theyappro

imatethethyroidcartilageandthe cricoidcartilage,tendingtopullthe

thyroidcartilagedownandtorotatethe cricoidcartilageatthefacet forarticula-

tionwiththethyroidcartilage.This actioncausestheposteriorpartof thecricoid

cartilagetopullbac

anditsanteriorpartto movetowardthethyroidcartilage

thisactionstretchesthevocal cords.

Therearetwo"

pulls

onthearytenoidcartilageswhenthecrico-arytenoidmuscles

                                                                                                                                                      

comeintotension.Theposteriorcrico-arytenoidmusclesdrawtheouter anglesof

thearytenoidcartilagesbac

wardandinward,whilethelateralcrico-arytenoid

musclesdrawthearytenoidcartilagesforwardanddownward.(

eeF

ig.2.)The

combinedactionofthesetwopairsof musclesholdsthearytenoidcartilagesfirmly

tothecricoidcartilage.The stretchingactionofthevocalcords broughtaboutby

tensiononthecrico-thyroidmusclescanoccur efficientlyonlyiftheposteriorand

lateralcrico-arytenoidmusclesholdthearytenoidcartilagesfirmlytothe cricoid

cartilage.

tthesametimethe thyro-arytenoidmuscles,whichlieinthevocalcords them-

selves,shortenthevocalcords.Therefore,thisshorteningactionis antagonisticto

t h e s t r tec h i n gaction

o n e a cito n "

pulls

again sttheoth er.

n o t h e r wrod s , t h ree i s t h e s t r tec h i n gaction ,ormoreorls es f o r w ard"

r e s utli n g f r m o c r i c ot-h y riod t e n soi n , a n d t h e"

hold ing

pull,

actin o,orbac

wardpu ll,

resultingfromcrico-arytenoidtension(whichstopsthearytenoidcartilagesfrom

movingforward).Thesetwopullsarebalancedbymeansof thecontractingor

shorteningactionofthethyro-arytenoidmuscles.

PitchAd

ustm e n t  P i t c h i s d tee r mni e d b y t h e ln eg t h o f a n dtensin o o n t h e v oa cl

cords.Thethyro-arytenoidmusclesshortenandtensethevocalcords.The crico-

thyroidmuscleslengthenandtensethevocalcords. Thej

ointactionofthetwo groups

ofmusclesdeterminesthelengthofand tensiononthevocalcords,providedthat

thecrico-arytenoidmusclesholdthearytenoidcartilagesfirmlyto thecricoidcar-

tilage.

sthepitchascends,the tensiononthelaryngealmusclesbecomesgreaterand

thevocalcordsshorten.Therefore,thegreatestamountoftensionone isableto

putonthelaryngealmusclesdeterminestheoreticallythehighest pitchthatanin-

dividualcansing.





   

    



        TH

T

NO

D.MU

       

L

tensesandshortensthevocalcord.

C

R

I C

O -

A R Y T

MU

C

NO I D

L

tense,thereby

           

holdingarytenoid

cartilagefirmlyto

cricoidcartilage.

V O C A L C O R D

Tensionremainsconstantwith

      

       

greaterintensity.

A R Y T

NO I

D E ND

         

Tensionincreases

withgreater

intensity.

TH

DE



ND

Tensionremains

greaterintensity.

C O - H T Y R O I

D MU

C L

                           

tenses,therebytensingand


lengtheningthevocalcords

P

I

TC H

NT

N

ig.3

I

T


u s t mn et a n d I

n t e nist y

ugmentation(continued)

inallythetensiononthe vocalcordsdecreasestothepoint wherethevocalcords

becomesolooselystrungthatthereis noaudiblenoisewhentheyvibrate.

n t e nist y A u g m e n t aito n  A

f t e r t h e lray n gael m u s cel s "

set

f o r t h e ptic h , t h e

vocalcordsareat adefinitelengthandtenseda definiteamount.S incemoretension

canproducegreaterintensitiesandsince tensiononthevocalcordsincreases asthe

pitchascends,intensityaugmentsasthepitch ascends.I

nversely,intensitydiminishes

asthepitchdescends.

f t e r t h eo v c a l c odr s h a v e b e n s t r ug n( s e t ) f o r t h e p i t c h ,tii s n e c e sa srytoma

laryngealtensionad

e

ustmentsinordertoaugmentthe intensityatthatpitch.That

is,asthebreathpressure increases,causingthevocalcordsto vibrateatanaug-

mentedamplitude,thearytenoid-endandthyroid-endpullsmustincreaseifthevocal

cordsaretoretain theirstringing.Therefore,intensityaugmentationdependsnot

onlyuponincreasedbreathpressure,butalsoupon theamountoftensiontheend

pullscn ae

e r t o n t h e vcoa l c o r d s . T h ee s e n d p u l l s k e e p t h e v o c lac o r d s s tur n g b y

holdingatbothendsas thebreathpressure

addtensionor"

cordswould"

hold

give

increases.Therefore,theendpullsmust

whenintensityisaugmentedotherwisebothendsof thevocal

asthevocal-cordvibrationsbecamegreater.

BThisshows thepitchad

ustmentandintensityaugmentationforonepitchinthe

purefalsettoregister.

PitchAd

ustm e n t  T h e p i th c i n t h e f a le sttoreg isterisad

ofmusclesdescribedpreviously.H

ustedb ythesameg roups

owever,foradefinitepitch,thetensionon these

musclesislowerthanin thelowerregister.I

notherwords,inthe falsettoregister,

thethyro-arytenoidandcrico-thyroidmusclesareatminimumtensionfora particular

pitch.

Becausethefalsettoregisteruseslesslaryngealtensionthan thelowerregister,

thehighestpitchesthatcan beproducedareinthe falsettoregister.

spreviouslystated,whenthepitchdescends,the tensiononthelaryngealmuscles

decreasesthevocalcords becomingmorelooselystrung.Therefore,sincethefalsetto

registeruseslesstensionfor thepitchandsincel esstensedvocalcordsproducethe

lowpitches,thefalsettoregisterbecomesinaudiblebeforethelower registerdoes

thatis,thelowerregister onlycanproducelowpitches,sinceit

isathighertension

thanthefalsettoregister.

ntensityA

ugmentationA



         

constantwith

C R I



sshowninB,for intensityaugmentation,theposterior

andlateralcrico-arytenoidmusclesincreasetensionholding thearytenoidcarti-

lagesfirmlyagainstthecricoidcartilage.This holdingactionatthearytenoidend

isthedistinguishingactionduring falsetto-registerintensityaugmentatio n.

fcourse,thecrico-thyroidandthyro-arytenoidmusclesarealreadytensedfor

thepitch,andthis tensionisgreatenoughalsoto supportthethyroidcartilage

                                                                                                                                                                                          

                                                                                                                                                                                                                                      



       TH

-A

T

NO

DMU

        

L

     

Unsesondshortens.thevocalcord.

C

R

I C

A R Y T

MU

C



O -

NO I D

L

tense,thereby

holdingq

         

rytenoid

cartilagefirmly

cricoidcartilage

C R I

C O - H T Y R O I

D MU

C L

temes.therebytensingand

                

             

lengtheningthevocalcords.

P

      

TC H

V O C A L C O R D

Tensionincreaseswithgreater



           

intensity.

1

A R Y T

NO I

D E ND

Tensionremains

c o n sat n t ( m a

TH

imum ).

DE

ND

                                                                                                             

Tensionincreases


withgreater

intensity.

I

NT

N

ig.3

I

T


u s t mn et a n d I

n t e nist y

ugmentation(continued)

throughthefalsetto-registerintensityaugmentationatthatpitch.Thetensionat

               

thearytenoidend(holdingaction)continuesto increasethroughoutthefalsetto-

registerrangeofintensity untilitis necessaryforthecrico-thyroidandthyro-

arytn eoidmu sclestoin c r e ae s t e n soi n i n o r d e r t o " h o l d

                                                                                                                                                                                        

a n d k e e p t h e t h y r iod c a r t ial g e

supportedwhentheamplitudeofthevibrationsofthe vocalcordsisaugmented

beyondacertainpoint(this lower-registeractionisdescribedinC

).I

nother

words,thecrico-arytenoidmusclesmustincreasetensionorelse thearytenoidcarti-

lagesw ill"

give,

r e s u li tn g i n e

v o c a l c rod s a n d ,conse

c e s svi e t h yor - a rtye n odi a c t i o n t h a t i s , s h o ret n e d

u e n tyl , a m i

This showsthepitchad

e d f a le sttoreg i s t e.r

ustmentandintensityaugmentationforonepitch

inthepurelowerregister.

PitchAd

ustm entThelow er-rg e i s t rep i t c h i s a d

musclesusedforthefalsetto-registerpitchad

ustedb y t h e s a m e gor u p s o f

ustment.H owever,thetensiononthe

crico-thyroidandthyro-arytenoidmusalesisincreasedinthisregister.C

onse

uently,

thevocalcordsaremore highlystrungandareprobablylonger.(Becausethethyro-

                                                                                                                                                           

arytenoidmusclestensetocounteracttheincreasedcrico-thyroidtension,theoretically

thevocalcordsmustbe longerotherwisethepitch wouldascendasthevocalcords

becamemoretenseandhighlystrung).

orthisreasonandbecauselow pitchesfadeduetothe relativelyrela

edstring-

ingofthevocal cords,thelowerregistercanproducethe lowestpitches.

Thisincreaseoflaryngealtensionforthe lowerregisteralsoe

plainswhythe

lower-registerpitchcannotbecarriedup ashighasthe falsettoregister.I

nother

words,sincemorelaryngealtensionisneededfor thelowerregisterthanforthe

falsettoregisteratonepitch andsincemorelaryngealtensionisneededas thepitch

ascends,onecannotsingashigh pitchesinthelowerregister asinthefalsetto

register.

ntensityA

ugmentationA

sdescribedpreviously,thefalsetto-registerintensity

augmentation(arytenoid-en dpull)continuesuntil itisnecessaryforthe crico-

thyroidandthyro-arytenoidmusclestoincreasetensioninorder tomaintainthe

stringingofthevocalcords atthethyroidend(thyroidcartilage).H

owever,when

intensityinthelowerregisteris augmentedandthecrico-thyroidandthyro-arytenoid

musclesincreasetension,notonlyisthe thyroidcartilagesupportedfurther,but

alsothevocalcordsare probablystretchedlonger.

fcourse,theamountoflower-registerintensityaugmentationpossibledepends

onthestageofdevelopmentofthe laryngealmuscles.

upportingthethyroidcartilage,andlengtheningandincreasingthe tensionon

thevocalcordsarethe distinguishingfunctionsofthelowerregisterduringintensity

augmentation.Of course,theholdingofthearytenoidcartilagesto thecricoidcarti-

lage(arytenoid-endpull)mustcontinueifthel owerregisteristobe pureanda

mi

s

e d l o w rer e g i set r i s t o b e a v odi e d .





   

    





TH

-A

T

NO

DMU

                   

L

tensesandshortensthevocal

corde

cessively(i.e.,shortens

vocalcordatrelativelylowtension).

C R I

C O - H T Y R O I

D MU

       

C L

tensesinsufficiently,transferring

pitchregulationprimarilyto

        

thyro-arytenoidmuscles.

P

TC H

V O C A L C O R D

Tensionincreasese

cessively

   

withgreaterintensity.

A R Y T

NO I

       

 

D E ND

        

Tensionincreases

insufficiently

withgreater

             

intensity.

TH

DE

ND

Tensionincreases

insufficiently



withgreater

intensity.

I

D


NT

N

ig.3

I

T


u s t mn et a n d I

mi

           

ustmentandintensityaugmentationduringabsolute


PitchAd

ustm entThead

                                                                                      

u s t mn et o f p i t c h i s md ae b y t h e i mrpo p elry c o - odr i n aetd

tensionsonlaryngealmuscles.Thecrico-thyroidandcrico-arytenoidmusclesareunder-

tensed(and,therefore,neverdevelop)andthethyro-arytenoidmusclesareover-

tensed(soonbecomingover-developed)

conse

uently,becauseofthisunder-tensing

(resultinginunder-lengthenedvocalcords)andover-tensing(resultinginbunched-up

v o c a l c rod s ) ,ht e p i t c h i s n v eeraccu r a t eyl "

set.



         

n t e nist y

ugmentation(concluded)

DThis showsthepitchad



fthisprc at i c e i s c o n tinud e,the

vocalcordsbecomeprogressivelyshortenedandultimatelybecomesoshortandso

                                                                            

bunchedupthatthevoice isdestroyed.

n t e nist y A u g m e n t aito n  F

o r i n t esni t y a u g m e nat t i o n i n m i

e d r e g itsr a toi n , t h e

laryngealmusclesincreasetensionbythesameincorrect co-ordinationestablished

forpitchad

ustmenttoomuchtensionincrease inthevocalcords(thyro-arytenoid

muscles)andnotenoughtensionincreaseat eitherthearytenoidorthyroidends.

Thisunbalancedconditionremainsunbalancedatallintensities.

nordertokeepthelaryn

assetforthin thisboo

h e a lhty , t h e c ror e c t t n esion sforpitchan dinten sity,

mustbeestablishedandretained.



    ffectofLower-registerE

limination

                                                                                                                                                                                                                                                                                                                                                                                                                                                              

naccordancewiththistheory,let usconsiderwhatwouldoccur

ifthelowerregisterwereto beeliminatedfromagreat,co-ordi-

nated,femalevoice.S

uchavoicewouldhavepure registration,

balanced,laryngealdevelopmentandthemusculartensionsinthe

laryn

w o udl b e i n e

u i l i biru m . Te hf i r s t r eu s l t o f t h e e lm i i n tai o n

ofthelowerregisterwouldbe thatthestretchingactionof thecrico-

thyroidmuscleswouldcommencetolessen.Thiswouldnecessitate

anincreaseinthe degreeoftensiononthethyro-arytenoidmuscles.

Thevocalcordswouldthenassumea shortenedlength,atlower

tension,forallpitches.Theeffectof thiswouldbemostpro-

nouncedfortheuppertones.A

siononthenec

stheseconditionsprogressedtheten-

muscleswouldaugmentandthevoicewould

becomeincreasinglythroaty.A tthisstage,the singerwouldlose

thepowerandq

ualityofallherlower anduppertones,theregisters

wouldseparate(aregisterbrea

wouldappear)and,atthesame

t i m e ,ht e m i d d l e o f t h e v oci e w o udl m i

intoathra oty,m i

r e g itse r ( s

,thic

enanddeg e n e rtae

e d r e g itse r . A t t h e s a m e t i m ,ea "

uea

v o i c )ew o u l d a p e a.rS

singveryhightones,apparentlyeasily,withthis

techn i c . S o o n , hw o e vre, t h e e

muscleswouldovercomethe"

c e s svi e "

holding

shutoff

pull

f a l stet o

falsetto

o n t h e t h ryo - ray t e n oid

actionofthearytenoidmus-


clesandth earytn e o i d c atri l a g e s w o udl "

s h u t off

hecouldp robab lynow

g i v .e

Becu asethe"pull

onthethyro-arytenoidmuscleswouldhavetobevery greatto

overcometheoriginallystrongcrico-thyroidandarytenoidmuscles,

whentheproperlowerregisteractionwas eliminated,thesemuscles

wouldovercomethearytenoid"

A

hold

inarelativelyshorttime.

stag ewouldsoonbereachedwhenthese constricted,highfalsetto

toneswoulddisappear.A

bethemi

llthatwouldultimatelybeleft would

ed-register,throaty,middletones.S hewouldonlybeable

t o s i n g a r e ltai v eyl f e w , t h ic

, t h r o tay , b a d q u a l i t y , m i

e d -er g i set r

tonesinthemiddleof hervoice.

Thereisthepicture,and howcruellyfamiliaritis

every,great,woman

Notone,but

svoicewhichhasbeenheard inrecentyears

hasgonethroughthesestagesandended upinj

ustthiscondition.

v e r y sni g l e o n e fot h e m h a s ei lm i ntae d h e r l o w e r r e g itse r

themcn a s i n g a s i n gel , p a sa s b l y g o d q u a l i t yot n e a n y m ore

Noneof

Notone

greatvoiceisleft

When thiseliminationofthelowerregister ispractisedinthe early

stagesoftraining,theunfortunatepupilneverreallysings atall.

Thebetterthevoice,themore definiteandprominentisthelower-

registeraction,andthemorenecessarydoesit become.Thisisthe

190







   

    

chiefreasonwhynogreatvoicehas beenheardforanentiregenera-

tion.

verycontemporarygreatvoicehasbeeneliminatedbecauseof

thislac

ofunderstandingoftheregistrationaction,andspecifically,

(morethanfromanyothercause)becauseof theeliminationofthe

lowerregister,whenitwasnaturallyfunctioningproperly.

Letusconsidersomee

amplesofthisprocess:Thereis thecase

ofagreatlyric, coloraturasoprano.H ervoicewasco-ordinated

beautifully,sheusedallthepure,lower-registertensionthat could

bedesired.Thisregisterwaseliminated.H

erbeautifulhighandlow

t o n e s hvae d i s p a p e aer d . A l l t h a t i s l e f t i s t h e t h r a oty,m i

v o i c .e

tisverysad

ed"

m i d del

Butsheisnw o teach ingtech n i c  a n d t h tai s

worse.

Thenthereisthec aseofthelast,reallygreat, dramaticsoprano

whousedtosingwith

aruso,producingafloodofgorgeoustone

whichwasnotputto shamebythegreatestvoicethe worldhas

everha e r d . S h e s t u d i e d wtih a m a n w h o k n e w l i t t l e o r ntoh i n g o f

thescientifictheoryofvocaltechnic, butshehad,naturally,an

almostperfecttechnic,andthisteacherdid notinterferewithit.

Then,unfortunatelyforher,shelefthimand startedwithanother

teacherwhoeliminatedherlowerregister.Thenhetried toma

hersingthecoloraturasopranoroles.F

e

oralittle while,shesang


Traviatainashut-offfalsettovoice.Bythis timehervoicehadbeen

virtuallydestroyed.A sitdeterioratedsheused lessandlesslower

register,andasthelowerregister degenerated,thefalsettobecame

moreandmoremi

ed,andtheuppertonesdisappeared.Thepower

o f h e r v oci e d i m i n i s h e d rp ai d l y a n d t h e q u a l iyt b e c a m ethic

unpleasant.I

and

nthefinalstagesof vocaldegenerationshetriedto

singCarmenwithath ic

, t h r o tay m i

e d -af l s etto t e c h n ic.Shewould

beinherprime today,hadshebeentrainedproperly,oreveni fher

naturaltechnichadnotbeentamperedwith.

Therewasamagnificentcontraltowhohada mostremar

ably

beautifulandpowerful,co-ordinatedlowerregister.Theaudience

oftenactuallystoodupandcheeredwhenshe heldoneofher

d r a mtai c , " w i d e oe pn ,

teach erinI

l o w rer e g i set r , l o w t n oes.Shewenttoa

t a l y wo he l i m i n a t e d h rel o w e r r g e i s t re. E a c h o f h e r

recordsshemadeonly afewshowsless andlessofthis register

a n d m oer a n d m o r e trho a tni e s s a n d m i

t u r e i n t h eaf l s etto . I

o r t h r e ee yarsshew asvirtu a l l y " o u t o f t h e p i c t uer .

helostthe

grandeurofhervoicebeforeshe wasthirtyandneverhadtimeto

r e a lyl "

ar r ie v.

Thesamethinghappenedwiththevoiceof thesecondgreatest

dramaticsopranoofthatgeneration(Destinnwasthegreatest).

191

ntwo

                                                                                                                                 

                                                                                                                                                                                                                                                                                                                                                





   

    

hesangNormaagreatmanytimes. Despitethefactthatshe was

asoprano,herlowerregisterwasfar biggerandbetterthanthat

ofanylivingcontralto.S

heeliminatedit probablybecausesome

ignorantteachertoldherthatit

withthefle

interferedwiththehightonesand

ibilityofhervoice.Thatwas theendofherreal career.

hesangalittle afterwards,butthevoicewasofno realmoment,

andshepassedoutof thepictureafewyears later,j

mighthavebeeninher prime.S

ustwhenshe

hetooisteachingvoicel

Thisiscertain:Theeliminationof thelowerregisteralways

destroysthevoice.Thebetterthevoice,the moresurelydoesthis

destructionoccur.

Themusculare

planationgivenseemstocoverthefacts most

satisfactorily.Thelossoftheproperstretching actionofthecrico-

thyroidmusclestransferstoomuchofthe regulationofthepitch

tothethyro-arytenoidmuscles.Thismi

destroysthevoice.A

estheregistrationand

llthesesingers,andmanyotherswho have

losttheirvoicesbecauseofthe eliminationofthelowerregister,

e n d u p w iht e

actlyth e s a m e s otro f t e c h n icathic

register,wobblingvoicewithaverylimitedrange

, t h r o ayt, m i

nohighorlow

tones.

L e n ght o f V

ocalCordsandQuality

When thelaryngealmusclesarebalancedproperlyandin e


uili-

brium,thearytenoidmusclesperformtheirfunctionin holdingthe

stringingofthevocalcords atthearytenoidend,andthe crico-

thyroidmusclesperformtheirsinstretchingthe vocalcords,while

thethyro-arytenoidmusclesfunctioninbalancingtheentirestruc-

tureandinshorteningthe vocalcordstotheproper degreeand

nottoomuch.Therelativelylongervocalcords wouldnaturallytend

toproduceabetterq

ualityoftoneaswell asafarfuller one.This

givesafurtherreasonwhythe voicewhichisregisteredproperly

soundssomuchbetter,andis somuchmorepowerfulthanthe

improperlyregistered,ortheunregistered,voice.I

thefactthatthe mi

fweaddto this

ed-registervoicemustbethroatyandthat

throatinessinterfereswiththefreevibrationofthe vocalcordsand

eliminatespharyngealresonancead

ustment,itisnot difficultto

understandwhysuchincrediblechangescanbe madeinthepower

andq

ualityofthevoiceunder propertrainingand,inversely,why

eventhegreatestvoicelosesits

ualityandmostofits powerwhen

itisincorrectlytrained andtheregistrationbecomesmi

192

ed.

ed

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                                                                                                                                       

ustnogod o . T r u ,ea p e r f e tcl y -

    

producedvoiceisco-ordinated.Nevertheless,thisisonlytrue of

areallyperfectvoice.Manyveryfine singershavehadadefinite,

andq

uitepronounced,brea

.Theirregisterswerewellmatched

a n d t h e i netn s iyt l i n e w a s s tai s f c a t o r y b u t , t h e y h a d a b rae

.O

n

theotherhand,someofthe mostunpleasantandthroatiestvoices


h a v e n o ber a

T h e a bo slutem i

e d - rg ei s t rev o i c e h s an o b r e a

Thus,thesingerwhosevoiceis completelymi

edcanswelland

decrescendothetonewithoutaregistertransition,and inmany

cases,cancoverarelativelywiderange andma

Why, then,isthisnotthe perfectcondition

Themi

ealot ofnoise.

Theanswerissimple

ed-registervoiceisnotonlyaltogetherthroatyand ofmost

unpleasantq ualitytothediscriminatingear,but also,itisnever

reallyintune.F

urthermore,thistechnicisphysicallyharmful.I

n

actualfactitis not,inthetrue senseoftheword,singing.

n t o ntai o n a n d Q u a l i t y

Unfortunatelythereareagreatmanypersonswhocannotdis-

tinguishbetweenanoiseanda goodq

ualitytone.F

urthermore,so

manyofthesingersoftoday basetheirinterpretationuponslurred

effects,thattheentireq

tothebac

uestionofintonationhasbeenconsigned

ground.Becauseintonationshouldbethefirstconsidera-

tioninthedeterminationofpleasingq

unfortunatestateofaffairs.

193

uality,thisisindeeda most

.

                                                                                                                                                                                                 

                                                                       





   

    

      i m i l rai t y o f M i

e d a n d C o - o r d i ntae d R e g i s t r a toi n

                                                                                                                                                                               

ence,itisto theundiscriminatingearthatthereseemsto be

butlittledifferencebetweenagreatvoice andami

v o i c .eB o t h aer w i t h u otabrea

.Bothcn ama

ed-register

eaconsid e r a bel

amountofsound.Bothcanswellanddecrescendothe tone,without

aregisterchangewhichis apparenttothelistener.Bothcan covera

considerablerange.Nevertheless,oneisunpleasanttolistento,off

ey,throatyandharmfultothevocal apparatustheotheris great

singing.Theteacherwhocannotdetectthedifferenceis inamost

unfortunateposition.H eshouldnotbeteaching

ometeachersboastthattheyhavedevelopedperfectly-trained,

co-ordinatedvoiceswhenalltheyhaveactuallysucceededin doing

wastoestablishcompletemi

edregistration.Unfortunately,the

establishmentofcompletemi

edregistrationisa verysimplemat-

terandbyth i s m e t hd ot h e b r e a

canbeelim inatd eonlytooquic

a n d e aisl y . H o w e v e,ru n d e r s u chcircum s t a ne cs,the"voice

ly

isalso

eliminated.C ompleteco-ordinationisthefinalstageof alongand

arduousprocessofproperlyconducted,vocaltraining.

o m pel t e C o - o r d i n tai o n S e l d o m A t t a i n ed

ompleteco-ordinationisneverattainedbytheaveragevocal

student.O nlythee

ceptionallytalentedpupilwilleverreachthis

stageofdevelopmentandwithsucha studenttheproblemis


relativelystraightforward.Themostimportantproblemforthe

teacheristheestablishmentandmaintenanceofpureregistration

   

andthemaintenanceofaproperbalance betweentheregisters.

emustnotbeb o s e se s d b y t h e i daeo f e l i m ia nt i n g t h ebrea

inthe

                                                                                                                         

voice,orhewillinevitablydo irreparableharm.

W h e n t h e t r a i nni g p r o cses i s c a r r i d eoutprop e r l y ,ht e b r e a

innowayob

is

ectionable.Theregisterssoonmatchreallywell,and

t h e p r ee s n c e o f a b rae

d o e s n toi n t e ref r e w iht t h e p u p i l

s a r t i sitc

andmusicalperformanceofthecompositionsshesings.

Prem a t u r e E l i m i n aito n o f B r a e

Theeliminationofthebrea

limin atesVoice

,attooearlya stage,iscontingent

upontheeliminationofthevoice.The voicewithabrea

nearlygreatvoice.O

establishedaconditionofcompleteco-ordination.O

thefinestvoiceshavehada definitebrea

thatitise

194

canbea

nlyafewsingersthroughouttheages have

t r e mley u n l i

ftheothers,all

.Thus,thefactremains

e l y t h a t te ha v e r g aepupilw illestb alish

                                                                            





   

    

completeco-ordinationoftheregisters,becausethereareonlya

veryfewsingerswhocouldever,evenunderthe bestpossibletrain-

ing,attainthisidealcondition.The teacherwhohasseveralso-called

co-ordinated

i n i n d u icn g m i

Pure"O

voicesamonghispupilshasreally succeededonly


pen

R

e g i srta t in oE

Thesoundofapure,

open

                                             

s t a bi ls h e s G o d Q u a l i t y

falsetto,orlower-register,toneis

alwaysbeautiful.Thesoundofami

ed-registertoneisunpleasant

      

anditis alwaysmoreorlessoutof tune.

ctually,theuseoftwo,properlydefinedregistersis

becausethej

desirable,

udiciousemploymentoftheregistersgivesriseto many

interesting,andartistic,interpretiveandcoloreffects.F

urthermore,

thefactthateventhe completelyco-ordinatedvoicehaspure,

definedregistrationmustnotbelost sightof.Pureregistrationisnot

lostwhenco-ordinationisattainedandthe interpretiveeffects

dependingupontheregisterchangeareused byboththeco-

ordinatedvoiceandtheproperlyregisteredvoicewhichhas a

b re a

.

Tosumup:Thepresenceof abrea

isnotaserious technical

fault.C ompleteco-ordinationcanoccuronlywitha fewphenome-

nallytalentedsingers.Prematureco-ordinationmerelymeansmi

registration,whichspellse

tremethroatiness,badq


ed

ualityandvocal

destruction.Theteachermustbeableto distinguishbetweengood

a n d b a d q u a l i t y , wihc h a r e s y n onym ouswithp ureandmi

t r a t in o. H e m u s t n tow o r r y a b o u t t h e per s e n e cofabrea

e d r e g i-s

which

canbesatisfactorilydealtwithwithoutthe necessityofdestroying

thevoicebymi

ingtheregisters,andeliminatingit inthismanner.

nlythebs et a n d w osrt v o i cseh a v e n o b r a e

stagesabrea

thestageatwhichpure,"

open,

n a l l t h e i n t rem e d iate

co-ordinatedregistrationwouldbe

possiblewithoutagreatdealof technicalwor

withabrea

.I

ispresent.Thereisno livingsingerwhoisnearlyat

.Therefore,asinger

could,today,bethegreatestsingerin theworld.

limin a t i o n foE

itherRegisterI sDestru ctive

While theeliminationofthelowerregisteris absolutelydestruc-

tivetechnically,theeliminationofthefalsettois e

tunate.S

ometeacherswor

ofthefalsetto.I

uallyunfor-

onthelowerregisterto thedetriment

fthelowerregistertensioni stoogreatforthe fal-

settotension(thyroiddevelopmentisnotbalancedwitharytenoid

development),thearytenoidcartilagesmustinevitably"

195

give,

with

                                                                                                                                                                                                                                                                                 

                                                              

theresultthatthe cordsshortenandthethyro-arytenoidaction

becom ese

c e s svi e . T hsia c t i o n ,inturn,au t o m tai c al ly m i

lowerregister.Thus,theendresult

mi

esthe

edregistrationis thesame

asthatbroughtaboutby theteacherwhotrainsthefalsetto,or

mi

e d r e g itse r , o n ly.I

lac

t i s , i n f a c t , j u s t a s u n f o r t ua nt e , b c ea u s e t h e

offalsettoactionproducesaveryunpleasantq

andthecompletelac

ualityindeed,

ofstabilizationoftensiononthe vocalcords

causesthepitchto wanderinamostdistressingmanner.

e l a toi n s hpi o f H y o i d Bn oe a n d T h ryo i d C a r t i l a g e

Thise

planationofmi

r e g itse r i s m i

edregistrationindicateswhy,whenone

e d , t h e oht e r m utsb e m i

arytenoidcartilagese

                                                                                   

e d a l s .oT h e "

give

ofthe

      

plainswhythethyroidcartilagerotatesand

closesthespacebetweenitsupper,posterior edgesandthehyoid

bone.(

e e F i g . 2 1).I

t a l s o s e revs a s a f u r t h ere

p l a ntai o n o f t h e

helpfuleffectofpullingdownthethyroid cartilageandofthemanip-

ulationwhichopensupthespace betweenthehyoidboneand

thyroidcartilage.

Theregistersmustbecompletelyseparatedandbalanced,and

thisbalancemustbemaintainedatall stagesoftraining.Novocal

improvementispossiblewithoutthiswor

ne-registersingingalwaysleadstomi

ofalltechnicalfaults

onthelaryngealmuscles.

edregistrationtheworst

whichspellsvocaldegenerationandultimate


vocaldestruction.

Mi

e d R e g i srta t i n o a n d P i th cA

Thepitchchange,inabsolutemi

d

ustmn et

edregistration,isinall proba-

bilityprimarilyafunctionofthe thyro-arytenoidmuscles.Under

suchcircumstances,changesinthebalanceof tensionbetweenthe

thyroidandarytenoidgroupsofmuscles,asthe pitchchanges,do

notoccur.Thus,changesofpitch will,undertheseconditions,

dependmoreorlessuponthe shorteningorlengtheningofthe

vocalcordsthroughtheactionof thethyro-arytenoidmuscles,while

                                                                                                                                  

theco-ordinationofthecrico-thyroidandthe crico-arytenoidmus-

clesremainsvirtuallyconstant.Therefore,itisnot onlypossiblefor

thesinger,whoseregistrationiscompletelymi

asheli

mi

ed-rg e i s t rec o n t r lo.

tisimpossiblefor thesinger,whosevoiceisregisteredproperly,

toslurbeyondacertain degree,becausewhenhestartsaslur, he

establishestheco-ordinationofthelaryngealmusclesforthe first

19

    

ed,tosluras much

es,butsuchslurring actuallyhelpshimtoestablishhis

                                                                                                                                                       



   

soundheemits.Thissoundis below,andoftenfarbelow,thepitch

heintendsultimatelytosing.Therefore,thebalanceof tension

betweenthecrico-thyroidandcrico-arytenoidmusclesisentirely

outofad

ustment.Theamountoffalsettotensionisthenfar less

thanitshouldbe.This malad

ustmentcanbeverygreat,because

somesingersmayslurat leastanoctave.Undersuchcircumstances

thelaryngealad

ustmentissofar outofbalancethata verygreat

strainisthrownonthe vocalapparatus.F orthisreasonthe singer

whoisreg i s t eer d a n d " o p e n edup,

b u t w h o sul r s b a d ly,mayb e

unabletosustaintheeffortnecessaryto singthroughasong.

lurringalwaysthrowsthelaryngealbalanceoutof ad

ustment.

When thefalsettoregisterisin actionthiseffectismost pronounced.

nfact,ifth esluristoogra e t , t h e por d u cito n o f a p u r eaf l s etto

toneisimpossibletoaccomplish.Thus,in theearlystagesoftrain-

ing,somemen,whoslurbadly,mayfail toestablishapurefalsetto

untiltheyhavelearnedtoovercome,orat anyratemodify,this

fault.Thefalsettoisso wea

forthelowtonesthat,if theslurstarts

ataboutmiddleG,no purefalsettoestablishmentispossible.This

isanoth e r r e ao snwhythep r o p e r atta c

oftheton eissovitala

phaseofthetechnic.

Thepersistentslurreralwaystendstomi

theregistrationbe-

cause,ifthefalsettoactionis verywea

,thearytenoidcartilages


give,

an dmi

e d r e g itsr a toi n r e s utls . S u c h m i

turemy ab e o f t h e

temporarytype,butiftheslurring ispersistedintool ong,muscular,

permanentmi

edregistrationwillbeestablished.

Theslurisalwaysaccompaniedbya completelywrong"

theresn o a ne c c a v i tei s . I

mentis"outoftune

tothee

of

ust-

t e n t d tee r mni e d b y t h e m a g n iut d e

o f t h e s l u.rT h i s i s a n toh e r r esao n w h y te h"

open edup,

registeredsingercannotgoonsinging ifheslursbadly

re

set

fthethra o t i s o p e n ,ht e r e s oa nn c e a d

uiredtoc a t u aet a b a d l y " t u n e d

p r o prel y -

theeffort

r e s oa nn c e c aivt y i s t o o g r a et.

Theeffortnecessarytosingwill thenbedeterminedbythedegree

ofmalad

ustmentofthelaryngealmusclesandby thedegreeto

whichth ereson a n c e c aivt i e s aer "

outoftun e.

T h i s effo r t c a n b u ild

up,inbadcases,until theslurringpupilis forcedtostopsinging

inthemiddleof asong.

ProperTechnicMoreDifficultThanThroatyTechnic

tisnot assimpleamatterfor theproperly-trainedsingertogo

throughasongasit isforthe throatyone.True,iftheformerhas

learnedtocontrolhisvoice andtocenterthepitch consistently,the

effort(notenergy)re

197

uiredisveryslight,and hecangoon singing

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    

                                                                                                                                                                                                                                                               

forhourswithoutstrainor fatigue.H isthroatalwaysfeelscomforta-

ble

h e d o e s ntot i r e . B u t  h e c a n n e v e r sul r b a d l y n adhemustbe

absolutelysureofeveryphaseO

fthecompositionheis singing.

Pitch,timespot,accent,rhythm,tempo,changesoftempo,phras-

i ng, dn y a m i sc, t h e w rod s , e t .c, m u s t b e"

set,

a s m u s t b e te hr e g i set r

changesandthecolorand emotionaleffects.Uncertaintyleads

toslurring.Therefore,therealsingermust beahardwor

er.The

structureofthecomposition,themusicalfiguresand thephras-

ingmustbewor

thisstructure.I

edoutandthecolor effectsmadeaccordingto

fthisis notdone,hecannotperformwithcommand

andfreedom.Thestudentwhowantstobe agreatsingermust

r e a lzie t h a t h adr w o r

him.I

onalltheph a s e s o f h i s rat i s d e m ad ne d o f

tiseasyfor anyone,whohasthenecessarynerveandlac

ofsincere,artistictalent,to slurthroughasongand ma

s e n tm i e nat l , " s e t

sobbing

effc e t s . T hsee e f f c et s t a

echeap,

e t h e f o r m o f sul r r i n g,

andofconstantlychangingtheintensityof asingletone,

etc.Theyconstituteabagof tric

sandareartistically valueless.

uchasingeris, indeed,betteroffifhis voiceisthroatyandhis

r e g itsr a t in om i

ed.Hecanthen,andon lythen,m a

effc et s w h ih carehisstoc

ethechep a

i n t r a d .e

Theproperly-trainedsingermustnotonlysingtechnicallywell

allthetime,maintainingabsoluteprecisionofintonation,but he


mustalsobeanartist andamusician.

PureFalsettoandM i

Thechiefcauseofmi

e d R e g i s t r a t in o( M a l )e

edregistrationinmen

svoicesislac

of

falsettodevelopment.Whenthereis alowerregisteronly,aman

voiceisinevitablymi

noid"hold,

s

ed.Becausehehasnotdevelopedthearyte-

t h e a r tye n iod c a r t ial g e s " g i v e ,

theregistrationbecomesmi

falsetto,actuallyemploysami

f a l s tet o t o n esarefarto"

a n d w hn et h e y " g i v e

ed.Themanwhoapparentlysings

edregistration,becausethelower

dead ,

softan d u n e s tb al i s h edtobesing-

ableinthep u r e f a le s t t o . H e m u s t , t hree f oer , "

l u t eyl t h r o ayt a n d t h i s i n e v i tb al y m i

w h i tn e

e s t h e f asle t t .oI

a n d g o a bo s-

     

nfact,th e

typicalfalsettosingeroftodayis unabletoproduceapure falsetto

tone.In e

Mi

o l o rtau r a s

Theparalleltothissort oftechnicwiththeman

s

uea

                                                                                                                      

trem e c a s e s ,ht e p u r e r eigs t e r i s p rem a nn et l y l ots.

ed-rg e i s t reC

- v o ie c

svoiceisthe

c o l oar t u r a s p o r a n.oH e r s i n gni g a l s o i s wtih o u t n ay

legitimatemessageandshewouldbeunableto performhersilly

198

                                   



 

    

tric

    

sifshewere tobetrainedproperly.Theveryhigh tonessung

inthe" s

uea

voice

a r e ud no u bet d l y por d u c d ewithami

register.Thevocalcordsaree

ed

tremelyshortandthecontrolis

entirelyonconstriction.Thistechnicdependsprimarilyupon the

employmentofthenec

A

muscles.

ve rysuccessfulradiocoloraturasopranobyshutting offher

falsettocompletelyforallofher uppertones,broughthervoice

downasfarasB

twospacesabovethetrebleclef.S

form erlyben eabletos

uea

hehad

,orevenG,b a o v e h ih gC

ditin o o f h e r v o ie cwasveryb ad.Herheadwassoloc

.Thecon-

e d d o w nof r

theuppertonesthat,at first,itcouldnot bemoved.Byestablishing

herlowerregisterthevocalcondition wasimmediatelyrelieved.

Theremar

ablething,however,wasthatshewasableto carryher

l o w rer e g i s treu p t o F

belowthisF

a b oe vhighC whensh ecouldon lysingtheD,

,inthefalsetto,whichregister wasatthisstagetoo

constrictedtogoanyhigher becauseofherprevioustraining.I

ase

n

tremeacaseasthis theoctavereflectionbetweentheregisters

doesnothold,untilsuch timeastheconstrictionand themi

ture

ofthefalsettohavebeenabated,andthis registercanbesungwith

anopeningofthethroatwhich correspondswiththeopeningfor

thelowerregister.Thisprocessof carryingupthelowerregister

veryhighshouldbeemployedonlyin e

tremelyrareinstances,and


p r a citc a l l y n evernw o t h a t t h e l ray n gael c o n tor l s c a n b e u sd e.

n

thiscase,however,thevoicewassobalancedto falsettothatit

provedhighlybeneficial.

Theveryhigh,lower-registertonesweree

somewhatmi

tremely"

white

and

ed.Theywereusedtodevelopthethyroid muscles.

llveryhightones,whichare notproducedproperly,areapttobe

e

c e s svi e l y " w h i t e .

a r e " w h i t ,e

mi

W h e n t h e y a r e d rei v e d for m t h e f las e tot , t h e y

thinands

uea

y . T h e y rae , t h n e , a c t ulal y s u n g i n t h e

edfalsettoandcontrolledbymeansof themusclesofthenec

andjaw.

Ta

ingthiscaseinto consideration,andalsothefactthatall

s

uea

"

ciatedwithmi

tonesareth in," white

a n d s h rl il a n d a r e ,ht e r eof r e , asso -

edregistration,whichalwayshasthesecharacteris-

tics,andalsobearingin mindthefactthatpictures ofthelaryn

showthatthesetonesareproducedwith veryshortvocalcords,we

*

T h e h i g,h"

w h iet ,

l o w e-rr e g i s t e r t oe ns a r e s t il lu s e d v eyr o c c a soi n a lyl ,

andtheveryhigh,falsettotonesoccasionallyin certainspecialcasesin order

t o p u l l o n t h e lray n gael m u s cel s , d ep s i t e t h e fcat t h a t t hsi"

e

pull

isatthe

penseofthethroatmuscles.Thesetonesshouldnever besustained.When

thisdeviceisemployedthepupil istoldto runrapidarpeggioswithoutholding

theuppertone.

199

                                                                                                                                                                                                                                                                                                              

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

    

seemtohaveaninterestingcorroborationofthis theoryofmi

           

ed

registration.

BalancedDevelopmentofBothR egistersProperS

tringing

Tosumup:Thedevelopmentofthel owerregisterstrengthensthe

                                                                                                                                                                                                                         

thyroidmuscles,especiallythecrico-thyroidmuscleswhichstretch

thevocalcords,withthe resultthatthisdevelopmentmaybecon-

sideredasaprocesswhich lengthensthevocalcords,foranygiven

pitch,andatthe sametimeholdsthemingreatertension.

Thedevelopmentofthefalsettostrengthensthearytenoidmuscles,

whichholdthearytenoidcartilagesfirm,andthus allowsthethyroid

musclestoe

ertanaugmentedtension.

Botharytenoidandthyroidmusclesmustbedevelopedsimul-

taneously,becausethestringingofthevocalcords dependsupon

the"hold

beine

and"pull

atec ah e n d , ad n t hsi "

h odl

and"pull

u i l i biru m . I f o n e s e t o f m u s c l e s i s oevr d e e vlop ed,e

mu st

ui-

libriumisdestroyed,withtheresult thatthethyro-arytenoidmuscles

mustcom eintoe

c e s s ievt e n s in o( m i

e d r e g itsr a toi n ) , t hree b y

shorteningthecordsandreducingtheir tensionforthegivenpitch.

Themoreoutofbalancethe systembecomes,thegreaterbecomes

thethyro-arytenoidtensionnecessaryfortheestablishmentofany

givenpitch.Thus,overdevelopmentofeitherthefalsettoorlower

registerthrowsthesystemoutof balance,andthefurtherthisun-


balanceddevelopmentiscarried,theworse(moremi

gealad

ed)thelaryn-

u s t mn et b e c o m es.

U n b laa n c d eR

e g i srta t i n oLeadstoMi


Unbalanceofthestateofdevelopmentofthe tworegistersalways

resultsinmi

edregistration.Thefurthersuchunbalanceis carried,

theworsethisconditionbecomes.

Thisprovidesanotherreasonwhytheradiocrooner,whouses

falsettoonly,maysoundq

uitepleasant,providedthatshealways

singsverysofdy,becausethise

tremelygentleformofphonation

developsthelaryngealmusclesveryslowly.Thus,shemaybeable

tosingin arelativelypurefalsettoforseveralyearsand hervoice

maycontinuetosoundmoreor lesspleasantwhenamplified.O f

course,assoonasthe thyro-arytenoidmusclesstarttodevelop,even

slightly,mi

edregistrationisinitiatedand thisstateofaffairsis

oftenhastenedbecauseofthedirectinterferencewiththe laryngeal

                                                                                                                                                      

actionwhichoccursbecauseofthe absoluteconstrictionofthe

throat,whichisanecessaryconcomitantof radiotechnic.A

200

ssoon





 

    

       asdeteriorationmi

edregistrationcommences,thevoicedegen-

eratesrapidly.

penin gtheV oiceinStages

Theproperdevelopmentofthevoiceproceedsin stages.A sthe

strengthofthelower-registermusclesincreases,thelengthof the

vocalcordsforthegiven pitchaugments.Theadditionaltension

necessaryforthelongercords,if theyaretovibrateat thesame

fre

uencys at h e s h o ret r c o r d,sm u s t b e l o

e d a f t reb y a n e

u a l ie zd

developmentofthefalsettoregisterwhichholdsthestringing of

thevocalcordsat thearytenoidendagainstthisincreasedtension.

We havethen,ineffect,alarger vibrator.Thislargervibratormust

thenbeacousticallycoupledwitha biggerresonator.Therefore,as

soonasanimprovementinthe registrationaction,i.e.,abalanced

developmentofthelaryngealmuscles,hasbeenestablished,an

open ing

o f t h e l ayr n g elap h a r y n , i . e . , d e v e lp om e n tofthetong ue

muscles,mustbeengendered.

This"

opening

processoccursinstages.E

achstageofdevelop-

mentproceedsinthesetwophases:

1.Thedevelopmentofthelaryngealmuscles

2.F

urtheropeningofthethroat

achtimethistwo-phaseopeningoccurs,theq

ualityandpower

ofthevoiceimprove.


n i ita l " O

pen ing

e r y rP o n oun ced

When thelowerregisterisfirst broughtintoplay,theincreased

stretchingactionofthecrico-thyroidmusclesimmediately,greatly

augmentsthelengthofthevocalcords. Thisdemandsadefinite,

r a t h res u d d e n " o p e n i n g

o f t h e l a rnyg e lap h a r y n . L a t e r " o p e n i n g s

arefarlesspronounced,becausethechangefrom virtuallynolower-

registeractiontodefinitelower-registerdevelopmentisfarmore

pronouncedthanthemereincreasesinthe degreeofcrico-arytenoid

(balancedwithcrico-thyroid)tension.Thus,theinitial"

opening,

whichoccurswhenpureregistrationis firstestablished,ise

radical.Theincreaseinpowerand theimprovementinq

verymar

tremely

ualityare

ed.Laterdevelopments,whiletheyimprovetheq

uality,

andinadecreasingdegree,augmentthe power,arefarlessradical

thanthisfirstbig change-overfromconstrictiontoopeningtension.

Thelater"

openings

becomelesspronouncedasthelimitsto possible

musculardevelopmentareapproached.I

201

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                                                                                                                                                                                                                                                                                                                                                                                                                          

uality,withbutlittleincreasein the

poweroutput.

oundofaMi

ed-rg e i s t reT o n e

Thereader,whetherhebea singer,avocalstudentora teacher,

shouldbeabletorecognizethe soundofami

edregistertonewhen

hehearsit.

bsolu temi

se

es.I

ed-rg e i s t res i n g i n gisnotq

singing.Thetypeofmi

as"

mi

u i t e t h ea s m e f o r btoh

nthecaseofamn aitisbasedup o n s o f t r tah e r t h n aloud

tureengenderedcanusuallybedesignated

e d f a le stto. Thismeansth atthereisanb asolu telac

of

lower-registerbalance.But,becausethefalsettodoesnotcomeinto

actin o a t f u l l v oci e u n t i l t h eot n e E

resultanteffectwillbethata mi

flatab ovehig hC

isreach ed,the

ed-falsettotechnicisinducedin

theareaofthevoice inwhichthelowerregister shouldbefunction-

ing.Thus,theintensityisrelativelylow,and forthelowerpitches

itisverylow .H ence,w hentherg e i s tar t i o n o f a mn a

mi

ed,thelw o erton esareatalltim ese

svoiceis

t r e mley w e a

fadesoutalmostcompletelyatthebottomof therange.A

degreeofmi

a n d t h e vioc e

nydefinite

edregistrationeliminatesthelowesttonesandrenders

thelow ertonesw h i c h c a n b e sn ug w e a

andinn ae.

sthepitchrises, theintensityaugmentsrapidlyandthehighest


toneswhichcanbereachedare relativelyloud.Thesoundisalways

t h i n , pni c h e,dt h r o ayt a n d e i t h er"

thic

t h r o tay

Whenthetoneissun g l o u d l yht e t h r o tai n essi s e

or"

w h iet t h r o ayt .

t r e mley p r o -

nouncedanditis alwaysaccompaniedbyahighdegreeof

t h i nw - h i t,e

o r n a s a,ls h r i lnl e s s . A t f o r t i s s i m oitisdistrs es i n g l y s h r il l

in fact,itis,actually,merelya blatantscream.A

tlowintensitythis

screm a i n g ,h s r i l l q u a l i t y i s a b aet d a n d a n a p a r e n tly" dar

"

u a l iyt

canbeemployed,despitethefactthat thethroatycharacteristicis

presentatallintensities.Thus,the

atlowthanat highintensity.F

ualityisapparentlyfarbetter

orthisreasonthe radiocrooner(the

singerwhoemploysaradiotechnic)alwayssings verysoftly,under

whichcircumstancesthesound,whenreproduced,canbeappar-

entlypleasingtotheuninitiatedear.This crooning,soft,mi

ed-

falsettosingingmaysoundpleasanttotheindividualwho li

esthat

sortofthing.Manyhateit, however,becauseitisalwayscharac-

terizedbyapronouncedlyeffeminateq

m a l ,em i

uality,withtheresultthatthe

ed-rg e i s t res i n g e r law a sys o u n d s j u s t l i

singer,especiallywhenhesingssoftly.E

e a t h r o a t,yf e m ael

ffeminatesingingdoes

notbecomeaman

202





Becauseallloud,mi

s t r ani e d , t hree

ed-registersingingisverypushedand

isapronu oncedtn eden c y , o n t h e prat o f t h e m i

ed-

registersinger,toconstantlyswellslightlyand thenimmediately

softenthetone.H

epracticallyneverholdsanytone atconstant

intensity.Thethin,shrill,nasalq

uality,whichischaracteristicof

thistypeofsinging,accentuatesthehigher harmonicsinthetone

and,forthisreason,thepitch whichisbeingsungsoundshigher,

a n d u s ulal y m u c h h i g h e,rt h a n i t r e lal y i s . T h e p aparn etly"dar

uality,whichcanbeemployedatpianissimo,is notlegitimately

dar

,

becauseitis"dar

o w eevr , i t i s m u c h " d a r

er

ened

prim arilybym eansofcn o s t rci t i o n .

t h a n t h e s rce a m e d f o r tsis i m.oB e c a u se

thevoicesoundsnicerat lowintensity,themi

ed-registersinger

isaptto singpianissimonearlyallthetime

evenwhentheintensity

s h o udl n o t b e s o f.tH e i s c o n s t n a t l y c h o i n g o f f hsiv o i c e , sni g i n g

pianissimoandfadingintoandout ofeveryheldtone.H

tosingentirecompositionsin apianissimo,mi

voce

w h i c ho sundse

llmale,m i

actlyli

eisprone

edfalsetto"

mezza

e a t h r o a t yef m ael v o i c .e

ed-rg e i s t rev o i c e s su on d m oer o r l e s s l i

e t e n o r,s

althoughalegitimatetenorproducesanentirelydifferentsound.

Thisiswhysingersand teachersofthemi

ed-falsettoschoolare

apttosayth a t C a r u s o h a d a b a r iot n e q u a l i t y . H e d i d n o t

thenormalsoundofa properly-produced," open,

iswas

virile,dramatic


tenorvoice.Thesingerwhoseregistrationispure canalwayspro-

ducerelativelyfulltonesatthe lowerendofhisrange.The prop-

erlyproduced,lighttenorvoicehas morepowerandvirilityat,say,

middleC

tone.

Thus,mi

(actuallyanoctavelower)thanthemi

edregistrationinmen

throatiness,"

tones,lac

whiteness,

ed-registerbari-

svoicesischaracterizedby

shrillness,nasality,screamedhigh,loud

oflowtonesandan effeminateq uality.Practicallyevery

tenoroftodayemployssomedegreeofmi

edregistration,asdo

m a n y o f te hb a r i t n o e s  t h e b as e s a r e a p ttobelessmi

Thefemale,mi

ed.

ed-registersingerdoesnotnecessarilysingsoftly.

s a m a t t e r o faf c t s h e u s u allysin gsrath e r l o u dyl . S h e h a s n o b r a e

shemayhaveaverywiderange,she canswellanddescrescendo

everytoneinhervoice withoutanyregistertransitionandshecan

singpianissimoveryeasily.Thissoundsli

eanidealtechnicalcon-

dition.Thecatch,however,liesinthe factthateverytoneshe

producesisofactivelyunpleasantq

properlytoq

ualitytotheear whichistuned

ualityandintonation.Thereasonwhytheintensity

o f s u c h a v oci e m a y b e r lea t i e v l y h i g h i s bcea u s e t h emi

dueprim arilytoalac

203

tureis

o f f a le s t t o d eevl o p m entandtoane

c e s svi e

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  



     

                                                                                                                                                                                                                 

lower-registercomponentintherangewherethefalsettoshould

beprominent.Thisconditionlendsitselfto thepossibilityofma

ing

alotofnoise.The powerofareallywell-producedvoice,whichis

registeredproperly,isfargreaterthanthat ofthemi

ed-register

voiceandthistypeof powermanifestsitselfastoneandvibrancy,.

incombinationwithproperlydefinedpitch,whilethepower ofthe

mi

ed-registersingerismerelynoiseandthe intonationisnever

reallytrue.Thehightones,whensung loudly,areveryoftensharp

andattimesverysharp indeed.Thisisadefinitecharacteristic of

mi

ed-rg e i s t res i n g i n g.Thelow ertons ea r e w e a

mi

ed-registersingerandthehighertonesare merelyscreams.The

u a l iyt o f t h e a b slou t eyl m i

throatyandusuallyvery"

ther ei s atp yeofmi

Thistypeofq

aswithth emale,

ed,fem a l e v o ie c i s a l w asye

white,

ed-rg e i s t res i n g i n gwhichis"thic

ualityischaracteristicofthe mi

Thehightonesarealways"

trem ely

shrillandoftennasal,although

white

t h r otay .

ed-registercontralto.

andshrill.

onstantchangingofintensityonheldtones ischaracteristicof

mi

ed-rg e i s t res i n g i n g w i t h b oht s e

ofdefinedintonation.I

es,asisanalm ostcom pletelc a

ntensitychangesarevirtuallyalwaysasso-

ciatedwithpronouncedscoopingwhichseemstobe deliberate.

n e - rg ei s t reS

ingin gandMi


l l o n e -er g i set r s i n gni g i s s o m w e hatm i

e d , b u t we hn a w o m n a


usesthefalsettoonly,anddoesnot trytosingloudly,she mayavoid

pronu oncd emi

ture,e

theymaynotbeverymi

c e p t f rot h e v e r y hgi h t o n e,sa n d e v e n te hn

ed,iftheyaresung comparativelysoftly

andneverpushedtoomuch.Thusthe female,falsettoradiocrooner

mayretainarelativelyhighdegreeof pureregistrationforafew

yearsprovidedshealwayssingsverysoftly.A

howv ee r , m i

orlessthroatyandall mi

M i d del R e g i set r

Mi

fterafewyears,

    

tureisbu ondtooccu r . A l l o n e -er g i set r s i n gni g i s m o r e

ed-registersingingisabsolutelythroaty.

andBln e d i n g te hR

                                                                                                     

e g i set r s

edregistrationalwaysoccurswhenthefemalesingertries to

develophervoiceupanddownfrom theso-called"

e s p e ica l l y i f s h e e n d evao r s t o " b u i l d u p

middleregister,

thepow e r o f h e r v oci e .

owever,thechiefcauseoftheestablishmentofabsolutemi

ed

registrationliesintheendeavor,onthe partofanuninformedteacher,

tobridgeoverthegap, orblend,theregisters

heisapt,therefore,

tododgetheissuealtogethereither byeliminatingthelowerregister

andbyonlyallowinghispupils tosinginthe falsettoorbyde-

204

                                                                                                   



 

    



l i b e rtae l y m i

ing"

blend ing

voice,andthencarryingthismi

throughouttheentirerange.The"

 t h e r e g i s t res i n t h e m i d l e o f t h e

edregistrationupanddown

falsetto-only

teachermayretain

amoreorless purefalsetto,providedthatheneverallowshis

pupilstosingout loud,butunderthesecircumstances,theirvoices

areapttobe sowea

thattheyarevirtuallyinaudiblein anaudi-

torium.Therefore,whenthesepupilstrytosing loudlyenoughto

beaudibleinan auditorium,theyunavoidablyforce,orpush,the

falsettoand,forthisreason,theyinevitablystart toengendermi

ed

registration.Theresultisthattheir voicesdeterioraterapidly.This

e

p l a isnw h y t h e " b u g b e a r

ofthebra e

hasben erespn o s i b l eof r t h e

destructionofsomanynaturallyfinevoices.

Goodq

ualitydepends,primarily,uponpure,properly-balanced

registrationandpharyngealresonancead

ustment,butitdepends

uponpureregistrationmorethanuponany othersinglefactor.

Mi

ed-registersingingisalwaysverythroatyandof mostunpleasant

u a l iyt . M i

e d r e g itsr a toi n i s t h e m otsp e r n i ico u s o f a l l tceh n i cla

faults

205


                                                                                                                                                                           



  

 

      

h a p tre1 2

C O NN

C T N GTO N S

{ M

LO D C

Discussionsthusfarhavecenteredone

L

N )

ercisesinwhichonly

singletones,ormoreor lessdisconnectedtones,areused.Never-

thelessthebasisofsinging liesintheability ofthesingerto encom-

passamelodicline,i.e.,to singamelody.Toteachthe pupilhow



tosingamelodyproperlyit isessentialforhimto domostofhis

wor

melody,thema

ortriad(ascendinganddescending)shouldbe

employed,mostofthetime.Problemsinvolvedarej

wor



withasim pletunen adnotonsin g l e t o nse. F o r t h i s r e s ao n a

e d o u t w ihtt h e m a

ortriad ,ande

   

ustaswell

erciss ew h i c h aer d i f f i u clt

tolearnintroduceunnecessaryproblemsforthepupil, whoshould

                                                                                                                                                                                                                                            

befullyoccupiedinconcentratingon thetechnicaldirectionswhich

theteachergiveshim.Melodicandrhythmicforms,etc., canbe

studiedwhenthepupilis wor

ingonrepertoireandmusicianship.

nthisphaseof hisstudiesheshouldtransposethe musicdownan

octaveandthussavehisvoice fromover-ta

ationandabuse.

n t h e e a r l ytsa g e s sni g l e t n o e s s h olud b e u s e d a g r a etdealto

wor

onregistration,pharyngealresonancead

introducinganyotherproblems.S

ustment,etc.,without

ingletonesshouldalsobe used

fromtimetotimethroughouttheentire trainingperiod,toma

c e r t ian n e w a d

ustm ents.B utthema


m e d im u f o r m o s t fot h e t e c h n i c a l w ro

le

e

ortriadcn abeusedasth e

.

i b i l iyt a n d L e g tao S i n g i n g

Muchhs ab e e n s a i d b a o u t f l e i b i l iyt i n s i n g i n g.F le

i b i l iyt a n d

rapidityofmuscularresponseareabsolutelyessentialcomponents

ofapropertechnic.H

f a c t ros a r e j

owever,thefactremainsthatboththese

ustasimp ortan tfortheprp oere

e c u toi n o f a s l o w

legatopassageasfortherapid runsofthecoloratura.Thereason

w h y t hsii s s o i s n o t f a r t o s e e

timere

,inviewofth e f a c t t h tat h e a c t ula

uiredtom o v e t h eo vicefrm o t h e c e net r o f o n e t oe nt o t h e

c e n t reo f t h e n e

t i s v i r t u lal y a c o n sat n t  o n e v irba t o . I f t h e s l i gthe s t

lagoccu rsinalegatop assag e,thesin g e r w il le i t h e r s lruo r j

20

er

as

                                                                                                                  

  

      

h e m o vsef r o m o n e t n oetothene

t a n d t h e m eol d i c l i n eandthe

legatoaredestroyed.

ence,itwillbe foundinpracticethatwhenthe singerhas

learnedtoconnecthistones togetherproperlyinalegatopassage,

itiseasyfor himtorunscale passagesandtheconstantpractisingof

scals ea n d h i g h s p eedrunsisunecs es a r .yI

fheorshecannot

singlegatopassagesproperly,itis impossibleforhimtorun scale

passagesanditis deleteriousforhimtoendeavortodo so.W hen

heistechnicallye

uippedtomovehisvoiceproperlywith theneces-

saryspeedofmuscularresponse,constantpractisingofscales, etc.,is

redundant.

fonetriadwereto besungperfectly,theentirevoicewouldbe

perfect,becausenoonetriadcould beperfectunlessallthe technical

problemshadbeenwor

edoutcompletely.Theabilitytosing perfect

triadsoverawiderangedoes notmeanthatthepupil isanartist.

nactualpractice,thelearningof repertoire,andtheattainment

ofahighdegreeof artistryintheinterpretationofthe repertoire,

i s a l o n g a n d adr u o u s tsa

w h i c h t a e s m u c h mroe t i m e , v e e n w iht

themosttalentedpupil,thandoesthe technicaltrainingofthevoice.

Nevertheless,theabilitytoconnecttonestogetherwithabsolute

precision,inanygiventime-formandtempo,withoutslurring,

er

ing,"giving,

e t c,.i s t h e b a ssio f s i n g i n g.


haracteristicsofaTune

A

tuneconsistsofa seriesoftones,eachtonehavingnot only

adefinedpitch,loudnessandq

ualitybutalsoa definiteduration.

Theseriesoftonescomprisinga melodymustbesungata given

tempo,inagiventimeform,and eachtonemustbeheld atits

properpitchforits entireduration.

onnectingTones

                                                                                                                                                                                                                                            

Themostdifficultphaseinteaching singingistoteach thepupil

howtoconnecttonestogetherin theirproperform.Therearevery

few,almostno,singerswhocansing threeconnectedtonesproperly

this appliestoprofessionalsingersj

ustasmuchas tobeginners.

Themovementfromtonetotoneis accomplishedbymeansofthe

vibrato.Becausethevibratoperiodisfi

ed,theperiodoftransition

betw eenthetn oesisalsofi edatonevib r a t o cc yl e  l /

thofa

second.Thevoicemustmovefromonetoneto anotherwithout

theproductionofanyintermediateslursor noises.Thismeansthat

a l l s l u rirn g m utsb e a b s oul t e l y ei lm i ntae d . I

207

fthesing erslurs

up

                                                                                                                                                                                   



 

    

                                       

intoatone,or downfromatone,heis producingintermediatenoises

whicharenotmusicaltonesat all.A

tthesametimehe issubtracting

fromthetimespotof thetonesthetimeinvolvedin slurringup

intothem,plusthetime involvedinslurringdownoutofthem.

uchslurringintoand outofthetoneis alwaysassociatedwith

intensityvariation.

Portm a e not a n d t h e V i b r a t o R u n

                                                                                                                          

When aportamento(portarlavoce)is indicatedontheprinted

page,thesingershouldneverma

eaprogressivechangeofpitch

i.e.,aslur.Toobviatethe slurand,atthesame time,obeythe

re

uirem entsofth emusic,h eshoulde

ecutearunn o t h e v i b rtao .

Thisvibratoedconnectionbetweentwotones,whichareconnected

togetherbyarticulationmar

s,ismusicaland pleasanttolistento,

insteadofbeingunpleasantinsteadof entailingaslurwhichis

actuallyanoise.

Thevibratoconnectionbetweentwotonesismadeon thediatonic

scalewhentheintervalis wideand,whenitis narrow,therunis

madeonthechromaticscale.Thechromaticscale isnotusedfor

intervalswiderthanafifth.Theseruns onthevibratoshouldbe

clearlydefined.Nevertheless,theeffectproducedisthatofa slow

connectionbetweentwotonesandtheportamentoindicationon

themusicisadheredto.


uchvibratoconnectionsbetweentonesoccurveryoftenin the

interpretationofmusicespeciallyoperaticmusic

bestudied,practisedande

andtheymust

ecutedwithprecisionandaccuracy.

n t e nist y R i s e w i t h A s c e n d i n g P i th c

Theproperly-producedvoicehasanevenlyrising"

scale.

Thisappliestobothregisters.H

intensity

owever,theriseinintensity

isfargreaterin thelowerrangeofthe falsettoregisterthanitis

whenbothregistersareused.Thus,whena femalepupilsingsthe

triadAb-C

-

b ( ab oe v m i d del C

) i n t h e f a l stet o , s h e i s g oingfrm o

pianissimotoforte,evenwheneachfalsettotoneis sungatfull

voice,becausethelowerregistergoesto D(fourthlineon thetreble

c l e f ) we hn t h e r e g i s t r aito n i s w o r

edoutprp o e r l .yA

theintensityrisein thefalsettoisnormal.S

boveth isD

imilarly,whenthelower

registeriscarriedabovethis D,theintensityriseis morethan

normal,becausethisregisterisused onlyaboveforteintensity

                                                                                                             

fortoneshigherthanthis D.

nallwor

208

o n t h e t rai d s t h i s r ieso f i n t e nist y w i t h ptic h m utsb e

 



    

predeterminedandcompletelydefined.Having struc

toneofthetriad,the loudnessofeachsubse

thefirst

uenttoneisprede-

termined.E achtoneofthe triadmustbeheldfor itsentireduration

ate

actlythispredeterminedloudness.

hythmicPattern

Therhythmicformofthema

ortriadmustbe setwithabsolute

p r e c iiso n . T h etoptonesh ouldbesu stain ed,andth is"

hold

hasa

definitedurationdeterminedbyaclearlydefinedrhythmicpattern.

ndescendingfromthetoptone ofthetriad,onemust definethetwo

succeedingtonesasdeliberatelyaswhenthetriad wasascended.

The"

hold

fortheuppertonemust bedeterminedbyaperfectly

rhythmic,even,narrowedorbroadenedbeat.Thesingermustnever

slur,or"givedown,

re

intothels at t w o t o n es.Whiletheten sion

u i r e dof r t h e l o w ertonesisls es t h a n t h atre

u i r e d f rot h e t o p

t o n e ,tim u s t b e b onr e i n m i n d t h a t t h e i n srtu m n etlaryn

a t a l l t i mseb e k

ept" strun g.

whendescendingfromthetoptone.I

l o s e t h ier "

rela

.A

strin ging

must

Manypu p i l s a r e atpt o r e l a

t o o m uh c

ftheydothis,the vocalcords

and,atth esametim e , t h e t og nu e m ucs l e s

saresultofth i s , t h e v ioc e g o s ei n t o c o ntsr i c toi n f o r t h s ee

lasttwotonesofthe triadandtheyfinishit withathroatytechnic,

therebypractisingthroatiness.

MovingfromTonetoTone


neofthemostdifficult problemsofallliesin teachingthepupil

howtomv o e t h e v oci e , u p a n d d own,w ithou t"

er

i n g ( w hci h i s r e l a

givin g,

rela

ing,or

ing)ashech a n g e s te hp i t c h . A n y t h i n g i n

thenatureofa newimpulsebetweenthetonesisdestructive.I

n

movingfromtonetotonethe tensionmustbeheldthroughoutthe

entiresystemofmusclesusedin phonation

itisthe degreeoften-

sionwhichvariesandmustbe gaugedwithaccuracy,precisionand

carefullycontrolled"

timing.

T i m ig n

Thisq

uestionof"

timing

ismostimportant.Muchofthe s

theuseofth e v o i c e l isei n t h e a b i ltiy o f t h e s i n gerto" time

tionof"timing

golfplayere

209

                                                                                         

illin

his

musculartensionsaccurately.

nallgams eo f s

                      

i l l , a s w lel a s i n i n s t rm u e n tlat e c h nci s , t h i s q u e s -

i s o f f u n dm a e nat l i m p otra n c.eW h e n t h e t e n n i s o r

ecuteshisdriveproperly,themusculartensionsmust

                                                                              





    

b e a p p lei d a t t h e m m o entatw hichtherc a

                                                                                                                                           

etorclubmetsthe



ball.Thus,intennisthe weightofthebodytransfersfromonefoot

totheoth eratthemom e n t a t w hci h t h e r a c

ball.O

e t c o n ncet s w i t h t h e

fcourse,aconditionof tensiononthemusclesofthe wrist,

elbowandshoulder(whichshouldbedroppedas insinging)must

occuratthemomentof impactortheconnectionbetweenthebody

andtherc a

etislost.I fthebodyw e i g h t i s tar n s frer e d a f r a tci o n

ofasecondtoosoon,or toolate,theplayerwill eithermisstheball,

orelsehitit

verysoftly,andhewillinevitablylosecontrol.The

energ y(wor

d o n )em u s t b e a p p liedate

actlyth erightmm o ent.

Thismomentdependsuponthepositionofthe ball.Thereforethe

p l a yrem u s t k e e p h i s e y e o n t h e b al l. I

heloo

f h i s c o n cn et r aito n w a n esand

sawayfromit,especiallyatthe momentofimpact,hewill

probablymissitaltogether,andhewill certainlyma

stro

e . T h e s tor

eaverybad

eismadebc e a u s e h e itne n d s t o h i t t h e b a l,la n d

hiseyemu stfocusn oit.I

fhehasabadee y , h e c a n n eevr l e a r n t o

playthegamewell.

Thetensioninsingingoccurs becausethesingerintendstosing

a t o n e , ad nj

thesingerk

u s t a s t h e aht l e t e msut k

ee p hi s ee y o n t h e b a l,ls o m u s t

eephisear(his innerormentalear)on thetone,or

tune,tobesung,becausethe tensionsareunavailingifdisassociated

fromthesoundconcepts.Thesinger

searis,therefore,similarto


theathlete

seye.Unlesstheear istrainedproperlyhecannotsing,

ustastheathletecannot playthegameifhis eyeisfaulty.

Tim ing

Thisq

andM a

uestionof"



o r T ira d

timing

hasalreadybeendiscussed.I

issomewhatmorecomple

asthepitchrises andfalls.I

inreferencetotheattac

ofthetone

nthesingingof thetriadtheproblem

,becausethetensionschangein degree

nstantaneouschangesoftensioncan

bemadeonlywhenthepitches andloudnessesofthetonesare

defin e d c l e ral y i n a s e

uencem e m oyr p i c t uer . I

thetriadthetensionincreasesat thee

n o r d e r t o a se cnd

actmomentatwhichthe

pitchchanges,andthischangein thedegreeoftensionmustbe

g a u gd ea n d "

m u s t b e atta c

timed

p r o prel y t o m e tet h e n e

e d p r o prel y a n d h led f o r i t s e

ttone.Th efirstton e

                                                                                                                           

acttimesp ot,wh ich

hasbeenpredeterminedbytherhythmicpatternof thetriad.The

tensionmustthenbeaugmented,ate

o r d e r t o sni g t h e n e

actlytherightmoment,in

ttoneinthecn e t e r o f p ict h a n d a t e

actlyth e

rightloudness.Thetensionmustagainbe augmentedinprecisely

t h e n e cses a r y dg er e e a n d " t i m e d

p r o prel y t o s i n g t h e t o p t o n .e

Thisaugmentationofthetensionmustactuallybe onlyanincrease

210



 



    

i n t e n soi n a n d m utsn o t b e a s scoi a t d ewitha"

occurswhenrela

er

,which

ationprecedestheaugmentationintension.W hen

asluroccu r s , w i to hu t "

badly"

give orj

timed

g i v ig n,

t h e i n c raes e i n t e niso n h a s b e n

andhasbeenappliedsluggishlyinsteadof rapidly.

uilibriummustbemaintainedatall timesandtensionchanges

madewithabsolutedefinitionatthee

actlycorrectmoment,which

ispredeterminedbythemelodicandrhythmicpattern inthesinger

s

mind.

" G i ve s

a n d J e r

s

Whenthepupil"gives

er

betw e e n t o nsea n d r e - i m pulss e, s l u r s ro

s , i n o r d e r t o ca hn g e t h e p itch,th is"

inarela

give

i s a c t u lal y m a n i f e set d

a t i o n foa l l t h e m ucs l e s u s d e i n p h o n tai o n . H o w e v re, i n

p r a citc e , i t i s o fet n f o u n dthatthe"give

c e n t res a r o u n donepar-

ticulargroupofmuscles.Theteachermust wor

e l i mni a t e s u ch"

g i v e,s

orrela

veryhardto

ation s , w h ih cma

etheprop ersing-

ingofthetriad, orofanymelodicline,impossibleto accomplish.

o m eitm e s t h e " g i v e

c e n t res u p o n t h e b r e a tihn g m u s lce s . U n der

thesecircumstancesthepupilmaymovehis chest,shoulders,or

both,u pordown,h emay" give

l ea noe vrbac

onthebac

m u s cel s a n d , t h e r e froe ,

ward s ( t h i s i s v eyr p r e v lae n t,)o r h e m a y " g i v e

thediaphragm,lettingitgoin, orturnup ordown.A

m e n t i n etih e r d i rcet i o n i s t rn as l aet d i n t o a " g i v e


m u s cel s , o r d i p ahrag m  u s u a lyl t h e f o r m er.A

at

nychestmove-

ofthebac

give

a t t h e d i -a

phragmisgenerallytranslatedintoamovementofthe chest.W hen-

evera" give

o c c u r,st h e c h e s,th e a d , rob o t h m oev, t h e n e c

becometenseandthetonguemusclesrela

m u s cel s

andgointoreverseten-

sion.h Tisisbecu asethemm o entth e"

hold

thora

l y , a n d i n odr e r t o g o o n

islost,th e g l o tits o p e n s r fel e

onthemu sclesofth e

s i n gni g , t h e p u p i l i s f o r cd et o c l o s e i t w ihtt h e n e c

m u s cel s . I

tis

thethrowingintoactionofthese musclesthatinducesamovement

ofthehead,chestor both.

A

fun damentalphaseofourproblemlies,then,in themain-

tainanceofthee

uilibriumofthebreathingmusclesatall times

duringthephonationofthetriad

especiallyatthemomentatwhich

thepitchchangeoccurs.

Whenevera"give

o c c usrb e t w e n t h e t o n es,thetn o g u e r lea

i r r e se pc t i e v o f w h e te hr t h i s " g i v e b e t h e r e s utlo f a j

anewimpulse.I

ed,allsu bse

ttone.Assoonasthetong uehasre-

uenttn oesareth r o a t ,yt h e p u pl i s m e r e l y p ushin g

onhisvoiceand forcing,irrespectiveoftheintensity,andthepres-

211

es,

,asluror

andeithershootoutor dropdownasthe

pupilpu s h e s u p i nott h e n e

la

er

ftheteacheris usingthetongueinstrumenthecan

feelthismemberrela

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 

    

sureofthetongueinstrumentmustbe instantlyreleased.I

teachergoesonpressing,afterthetongue hasrela

ceedon l y i n p u s hni g i t d o w n t h epupil

                                    

fthe

ed,hewillsuc-

s t h r o ta, o r i n b u n c h ingitup

againsttheposteriorwallofthe laryngealpharyn

,therebyvastly

increasingthetensiononthemuscles whichpullitbac

,andthus

engenderingahighdegreeofthroatiness.

a l u e o f Tn og u e I

nstru m e n t f roM a

orTriad

nereasonwhytheuseof thetongueinstrumentinthesinging

ofatriad,especiallyin thefalsettoregister,isso valuable,isbecause

t h e t e ah cercanfelthepup il

stongue"give.

A

s s o o n a s t hsi"

o c c usr, h e m u s t t lel h i m t o s t p osingin g . H e m a y h aevt o m a

                                       

give

ethe

pupilrepeathundreds,maybethousands,oftimesbeforehelearns

howtoconnectthetonestogetherproperly.Nevertheless,hemust

wor

andwor

u n t i l h e hsaa c c o mlpi s h d e t h i s e n d . I f h e f a i l,st h e

pupilwillneverreallylearn tosing.

penin gV

oiceSlowly

W h e n a p u p i l s t a rstw i t h a s m lal , "

suddenly,thisproblemof"

giving

s h u to-f f

voicen ad"

open sup

betweenthetonesbecomesvery

pronounced.Therefore,theopening-upprocessmustbeslowed

down,asmuchaspossible,untilhe haslearnedtoconnectthetones

w i t hu ot "

givin g.

f t h e o p einn g - u p p r o c essp r o c ed es t o o r a p idly,

thepupilmaynevercatchup withhisvoice.


While itistrue thattheteachercanspeedup orslowdownthe

opening-upprocess,itisnotpossible forhimtostopit

altogether.

Thevoiceis,atall times,eitherintheprocess ofopeningupor

shuttingoff.Thisisso becausethemusclesusedin phonationmust

tendtodv e e l o,pm e r eyl a s a r e s u l t o f t h ee

to,whentheyarebroughtinto tension.I

e r c ie stheyaresu b

intension,thesemusclesdevelopandthe voiceisbeing"

up,

ected

ftheopeningmusclesare

opened

rap idlyorslowly,accordingtothe degreeofstrenuousnesswith

whichtheyareemployed.I

ftheconstrictormusclesare inaction,

theywilldevelop,andthisdevelopment,also,dependsuponhow

vigorouslythesingeremploysthem.Thus,thevoicecan be"

up

opened

rapidlyorslowly,butifany attemptismadetocompletelystop

t h e p r oe cssof" open ing,

i t g o e s i not r e v esre , a n d t h eendresu lt

willbethatthe constrictorsystemcomesintoactionandthe voice

startsto"

212

shutoff,

i.e.,theconstrictormusclesbegintodevelop.

                                                                                                                                  

 



    

G i ivn g

a n d S l ur i n g

Thepupilwho"

gives

betweentonesalwaysslurs.A

straight

slurupis bad,becausetheuppertoneis notinproperad

sincethelaryngealandpharyngealad

tonearemaintained.Thismeansthattheimproperlyad

apparatushastobeforced,and thattheeffortre

usted

uiredtoproduce

theuppertoneis fargreaterthantheeffortnormallyre

be,iftheintonationwereaccurate.H

ustment,

ustmentsforthelower

uiredwould

owever,ifhedoesnot"

give

duringthisslur,he maynotactuallygothroaty,underwhichcir-

cumstanceshewillnothurt hisvoice,despitethee

re

u i r e.dO

f c o u r s,et h e t o n e l c a

inaccuratelaryngealandpharyngealad

t i s m u c h w osre w h e n te hp u p i l w h o"

rela

traeffort

s r i n g a n d q u a l i t y b e cu as e o f t h e

ustments.

gives

b e t ween t o n s e

esandslursdownbeforehe slursupintothe succeedingtone.

nbadcasesthis mayoccurwitheachpitch transition.Theslur

downcanbeanythingfromabouta semitonetoalmostthelowest

soundhecanproduce.Underthesecircumstancesthe resultsare

mostdistressing.Thesingerisalwayspushingup intoatonewhich

isabsolutelyoutofad

ustmentand,wheretheconditionisvery

pronounced,thiseffortisbuiltup tosuchapoint thatheisunable

t o s i n g t hor u g h a s o n g.Whenthisoccu r s a n y f utrh e r " o p e n ing

t h e v o ie c i s m o s t u ne ds i r b a l e , u ni tl t h i s " g i v e


n a t e.dA

nyth i n g i n t h e n aut r e o f a v i loe n t j

er

of

a n d s l u r aer e l i m-i

b e t ween t o n s eb r i n g s

a b o u t j u s t s u c h a sat t e o f a faf i r s .

ccurc ay o f I

n t o ntai o n

W h e n t h e p u p i l a rirv e s a t t h epointwh e r e h e d osen o t "

, h e m a y s t il l a c

g i v ,e

slurcom p l e tley o r j

er

a c c uar c y o f i not n a toi n

andfine"timing

a b i ltiy s o t h a,ta s h e m o v s et o t h e n e

ttonein

ascending,hemaylandalittle belowitandthenhaveto slideup

therestofthe way.Theresultingtonemaybeof relativelygood

ualityandpower,buttheeffortnecessaryto produceitiscon-

siderablyaugmented.

When absoluteaccuracyandprecisionofintonationandperfect

timin g

h a v e been a t t ani e d , t h e e f f otrr e

                                                                                                                                                             

u i r e d t o por d u c e m a g n i f-

cent,full,ringingtonesis relativelyslightandthepupil,whose

voicehasprogressedtothispoint, cangoonsingingfor manyhours

withouttiring.

ftheread e r w o udl l i

etohearwh a t a c c uar t e i n t n o a t in oa n d

propermovementfromtonetotoneactuallyare,he shouldgeta

numberofC

213

arusorecordsespeciallyhis laterrecordingsand

                                                                                                                   





    

observe,withgreatcare,themannerinwhich

                                       

arusomovedfrom

t h e c e net r o f o n e t oe nt o t h e c e net r o f t h e n e

twithalm o s t u n cn an y

precision.Thisprecisionofintonationandmelodicline isvirtually

alostarttoday.

L o w re- r e g i s t e r Tira d s f o r W o m e n

With awoman

sV

oices

svoice,mostlessonsstart withafewsingle,lower-

registertones,toestablishthepurest,freest possibletones,overthe

rangewhichshecancoverat thegivenstage.Thenmostofthe tech-

n i c a l wro

isdonew i t h t h e t r id a.

Thevowelusedisgenerallya rather"

i n f a t hre) , "

oh

( a s i n h o t,)o r "

dar

or

not thic

beadvantageouswhentheyhappentofitthepupil

nicalpc e u l i rai t i e.sT h u s , te hd a r

M o s t otfe n , h w o e v re, t h e d a r

"

e

ah

"

ah

(as

(asinfou r ) . O t h e r v o w eslm a y

spersonaltech-

and" oo

or"

oh

t h e s t atri n g t rai d w i l l b e a b outmidleC

aresom e t i mseu s e d .

isbest.F

o r m o s t vioc e s

 G . T h e t r i a d s aer c a r -

riedupasfar asthelowerregisterwill go,withoutclosureor

e

c e s svi e "

w h iet n i n g .

When,howv eer , the p u r e r e gsit e r c a n b e

c a r r id eu p , w i t h o u t " w h i tn ei n g ,

throu g h C ( o n t h e t hrid s p a c e fo

thetreb l e c l e f , C f a n d D ( i . e . ,ht e t r i a d sF

-A-C

,F

G-B-D),thetoneshigherthanthesemaybe slightly"

p r o vdi e d t h tat h i s "

w h iet n i n g

ismaintained.Thedegreeof"

isnote

whitening

#and

c e s svi e a n d t h ta"

open ing

allowabledependsupon


t h e p a ritc u l rap h a s e o f " o p e n i n g

#-Af-C

whitened,

whichh a s b e e n etsa b lsih e d a t t h e

givenstage.

Theteacher

searmustbe abletogaugetheoptimumdegreeof

w h i tn ee s s

or"

dar

ness

tobeused,s aw e l l a s t h e bset v o w le

fortheparticularpupilat anygivenstage.Thisdegreeof"

ness or"

dar

ness, andof"

white-

w h iet n i n g f o r t h e h i g h re, l o w re- r e g ister

tones,variesallthetimeand changeswitheachslightopening.

Blind  o r d e a f  d i r e c toi n s t o t h e pp ui l t o s i n g etih e r " d a r

w htie

a r ,ea t b s et , w o rh t ls es . E x

c e ss i ve l y " w h ti e

"

or

or"dar

alwaysengendersthroatiness.

ealTec ah i n g H a r d W o r

Theteacher

hiswor

pupil.S

searmustbe sensitiveanddelicatelytrainedfor

. T h e r e i s n o s tep r o c es w h i c h a p l i e s t o a ec ha nd ee vry

o-calledpedagogicalmethods,whichcanbeuniversally

appliedinstepsto eachandeveryvoice,arenonsensicalandvery

harmfulindeed.Thetrainingofthevoice isnotli

o f a s c h o lsat i c s u b

214

ect,wh i c h c a n p usru e a f i

etheteaching

e d c o usre , a n d wihc h

"

sin gin g

                                                                                                                                                                                                                                                                                                                                                                         

   

ta

e s t h e f o r m foa s e r i e s o f c rae f u llywor

nthiswor

oftrain i n g t h e v ioc e , t h e u ntaln etedpu p i l a c t ulal y i n

effectmaybestillta

forq

e d o u t p r orge s s ievl e s s osn.

inghisfirstlesson afterhehasbeenstudying

uitealongtime.Until thetechnicaldirectionhasreallybeen

followed,nothinghasbeenaccomplished.

ore

a m p l,et h e p u pl im u s t b e t odl t h a t t h e j

awmustb ecom-

pletelyopenedandreleased.Thisdirectionmightbefollowedat

thefirstlesson,withthe helpofthemanipulation.Threeorfour

lessonsmaybeenoughtoestablishthe abilitytoreleasethej

c o m pel t e l,yw h e n t h epupilise

t r e mley t a l e n ted.Th ee

aw

c e s svi e l y

high-strung,tense,slowreacting,orstupidpupilmayneverbe

abletoestablishthisrelease.H

ewillthenneverreallylearn howto

sing.Thisappliestoeveryphaseof thetraining.

nlywhenthedirectionhasbeen followedcompletelyhasthe

improvement,dependen tuponthisdirection,been established.The

pupil,therefore,mustbeforcedtofolloweach andeverydirection,

orvirtuallynothingisaccomplished.A

teachermightbeabsolutely

correctineachdirectionhe gives,andatthesametime accomplish

nothing,ifhefailsto forcethepupiltofollowthese directions.

ometeachersareafraidoflosing theirpupilsiftheydrive them

toohard.S

uchteachersarej

manypupils,wholi

ustinsincere.Unfortunatelyonlytoo

etobepraised andcomplimented,doactually


u i t t h e t ecah e r w h orti e s t o d o h i s j o b s i n c ree l y , h o n etsl y a n d

efficiently.Nevertheless,suchateacherwillalwayswinoutin the

end.H

emaylosethefoolishand theconceited,buthewill hold

allthepupilswhoare worthholdingwhoareworth wor

ingwith

andwhomayaccomplishsomething.

a l s etto T r i asdf o r F

e m ael V

oice

ftersingingthelower-registertriads,thefalsettotriads must

besung.h T e f i r s t flas e tot t r i a d t o b e s u n g i s e i t h rem i d d l e A [

orsometimes,G-B-D.A nytriadlowerthanthis startsatsolowan

inten s i t y , ta ht t h e p u p ilisliabletoth ic

e n , p uh sandmi

the

falsetto.Thefalsettotriadsmustbecarried upuntilthefalsetto

tone,oneoctaveabovethehighest,lower-registertone,sungin

thelower-registertriads,hasbeenreached.Thisoctavereflection

mustbemeticulouslyadheredto.

215

-C-

b,

                                                                                                                                                                                                                                                                                                 

                                                                                      





 

    

                                                                                                  

o w eslU s e d

Thesamevowelsmaybeusedfor thefalsettoasforthe lower

r e g itse r . H o w e v e,rt h e d a r "

e

or"

f a l s tet o t o n esmustalw a y s b e s ug nd a r

oo

.A

a r e o fet n u s e d . T h e l o wre,

w h iet

inthelowerpart oftherange,isvirtuallyalwaysmi

t h e r feo r ,eh a r muf l . S l i g h t "

w h iet n i n g

timesadvantageous.TonesabovehighA

ened.

Thedeg r e e o f " w h iet n i n g

f o r t h e h ih ge r t o nsei s s o m e -

orBbaregenerally"

whit-

depn e d s u p o n te ht e c h nci a l

c o n dtii o n,sa n d m u s t b egaugd e b y t h e t e ah cer

high,"open

f a l s tet o t o n e,

edand,

sear.Whenvery

t o n e s cn ab e r e a c hd e, t h e y aer a l w asys u n g w i t h a

r e l aitv e l y " w h i t e

( n o t s hirl l ) q u a l i t y . T hsia p p l i s eo n l y t o t o n es

aboveabouthighBfc> .

Ma

orTriadn a d O p e n ig nt h e M o uht

Theopeningofthemouthduringthe singingofthetriadis of

fundamentalimportance.Unlessthetongueinstrumentisbeing

used,thetriadis generallystartedwiththej

awnearlyclosed.The

lipsshouldneverbeshapedfor thevowel.Theyshouldbeslightly

openedandneitherspreadnorover-pouted.Nopartof thelips

                                                                                                                                                                                                                                               

shouldbeheld,orpressed,againstthe teethupperor lower.The

cornersofthelips shouldbeslightlyraised,butthe nostrilsshould

notbeinvolvedinthis gesture.

Thefirsttoneofthe triadshouldbeattac


e n t ier l y c l oe s d a n d r eal

stuc

edwiththej

ed.I

awalmost

t s h o u l d niet h e r b e p u lledbac

nor

o u t . A s s o o n a s t h e p u pl is t a r t s t o m v o e f r o mht e f i r s t t n oe

ofthetriad,thej

awshouldbeopened.Theopeninggesturemust

bemadeasasingle movement.I

tshouldneverbemadein two

stages,becausethefirststageof openinginevitablystopsinthe

m i d del  o r l o c

position ,andtheloc

alwy a s s e t , we hn i t s d o w n w adr e

will,th e r eof r e , p rcat i c al ly

c u r soi n i s c h e c

atthisposition.Theswing,or pulldown,ofthej

ed,orstp oped,

awshouldactually

beacceleratedwhileitis passingthroughthemiddleposition.The

openinggesturemustbemadeverydeliberately,definitelyand

w i t hu ot a n y h urry o r  m o s t e m p h a t ia cllyj

denmovementofthej

position.A

er

ing.Anyj

er

y,sud-

awwillinevitablylanditi nthemiddle

ssoonasthis middlepositionhasbecomeestablished,

furtheropeningpracticallyneveroccursinpractice.

This,ofcourse,isnot trueofthesinger whosetechnicisso

advn a c e d t h tah i s j

a w n e vrel o c

s . U n d res u c h c i r c u mstn acesit

doesnotmatterwhathemaydo withit,becauseitis notco-

ordinatedwithphonation.A

fterpassingthroughthemiddleposi-

tionthecompleteopeningofthe

21

awmustbeestablishedandmain-

 



    

tainedthroughouttheentireperiodduringwhichthe uppertone

isheld.W

hen,assometimeshappens,acrac

occursatthemiddle

p o s iito n , t h e j a w m u s t b e m a d e t o p s a s t h r og uh t h i s c r c a

rapid ly,

inasinglegesture.

Undernocircumstancesshouldtheheadbe allowedtomovein

anydirectionduringthesingingof thetriad.Thisisespecially

importantwhenthemouthisbeingopened.I

m i d del p o s i toi n , o r c r c a

e

,whenth ecrac

ngoingthroughthe

o c c usr, t h e p u p ilmust

e r t g r etad e t e r m i n a toi n a n d a t t h e sm a e t i m e r lea

m u s cel s o f h i s j

a w a s m uh c a s p o s s ilbe . I

throughtheloc

t h e c l oisn g

fhesetsit,hecn anotgo

positio nand,therefore,hecannotopenit fully.

Because,intheearlystagesbeforethe ligamentshavebecome

s u f fci i e nlty f l e

theloc

ible,itm ayhurthimw h e n h e p ul ls h i s j

p o s iito n , h e i s a p ttoholdbac

awthru ogh

a n d b eo cmeinh ibitd eat

u s t t h e v iatl m o m n et.At thismm o entthemm o entw h e n h e m uts

p u l l , o r froc e , h i s j a w t h r u oghthelc o

tomovehishead.I

w i l l f al it o g o t h r o u ghtheloc

will"give,

p o s iito n  h e i s v e r y p at

fhedoesso,in eventheslightestdegree,he

thenec

p o s iito n a n d , a t t h e s a m eitm e , h e

m u s cel s w i l l c o m eintoten s i o n , ad nt h e t o n e

willbecomethroaty.

Thus,thej

awmustswingdownina singlenotdouble

gesture

throughthemiddleposition,andcompleteopeningmustbe estab-


lishedasthepupil goesfromthelowesttothe highesttoneofthe

triad.Thereshouldbenoassociationbetweenthe openinggesture

ofthej

awandth e i n d i vdi u a l t oe ns o f t h e t r id a. T h e j

open,n aditmustbew ideopn eforthetoptn oe.I

a w m uts

t m u s t n o t sot p

movingforthemiddletone,orwhile thistoneisbeing sung,unless

ithasalreadybeenfully opened.Thissometimesoccursforthe

highertriads.I

tisnotabsolutelyessentialfor thefullopeningto

beestablishedatthemomentatwhich thetoptonestarts.The ges-

turemaysometimesbecompletedamomentlater,providedthat

t h e f u l l oe pn i n g , w h i c h fni i s h s ew i t h t h e p u llingbc a

ofthej

aw,

isattained.

n d e s c ed ni n g , t h ej

a w m u s t b e col s e d i n a s i n g l e g e sutr e . I

t

mustbeheldopenfor theentiredurationofthe uppertone,and

then,assoonasthe pupilstartstodescend,it mustbeclosed,with

asinglegesture,asin ascent.O fcoursetheclosureis notcom-

plete.Thelowertoneissung atboththebeginningand theendof

thetriadwiththej

awopenedslightly,butthisopeningmust be

considerablylessthantheopeningnecessarytoestablishthe middle

position.Practicallyallsingingshouldbedone withthej

aweither

nearlyclosedorwideopen.Themiddle positionshouldnotbe

employed.

217

                                                                                                                                                                                                                                                                                                                                                                                                                                                                                             

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t h e t o n e v o w e l a n d p ict h  m u s t b e m ian t ani e d w hl ie t h e j

beingmoved.Theresonancead

                                                                                                                                                                                                                                            

ustm ent

t i s i m p o rat n t t o r e m e m b ret h a t t h e r s eo n acne a d

awis

ustmentdependsupontherelative

positionofthebaseof thetongueandtheposteriorwallof the

laryn gealph aryn

nanced a

.I

fthetong ueisallow ed to moe vfromitsrs eo -

ustm entwhn ethej

awisdroped,th e e n t i r e ssyt e m o f

musclesusedinphonationisthrownout ofad

ustmentandthetone

becomesmoreorlessthroaty.Therefore,thetensiononthe muscles

ofthetongueandthe hyoidbone(genio-glossusandgenio-hyoid

muscles)mustbemaintainedwhilethetriad isbeingsung,butthe

tongueitselfmust,atthesametime, bemovedbac

slightlywith

r e g adr t o t h e j

awasit(thej aw)mv o e s , i n odr e r t o m ani t a i n t h e

resonancead

ustmentforthetone.Thismovementofthetongue is

determinedbytheamountofread

ustmentnecessaryinorderthat

thevowelmaybeheldconstantwhile thetriadisbeing sung,in

s p i t e o f te hj

a w moe vmen t.Themv oe mn etofthej

a w m u s t b e cm o-

pensatedforbythenecessarymovementofthetongue.

Thisread

ustmentofthetongue,whenthej

awisbeingopened,

isactuallyofrathersmall magnitude.Nevertheless,thesinger

e

p e r in ec e s a q u i t e d e f i n iet m o v e m ent.Th eread

u s t mn et o f t h e

tongu e o c c u r,sf o r t h e p ict h c h a ne gs , a s t h e j a w m o e vs.I

ta


etheformofm ovin g t h e t o n ge ub a c

ofthej

tseemsto

w h e n te hd o w n m v oemn et

awisbeingmade,becausethisgesture tendstomovethe

tongueforwardandoutwiththej

aw.

Thissenseofholdingthe resonancead

thetongue,insteadofwiththej

ustmentwiththebaseof

awandlips,is oneofthevital

p h a sseo f v o c a l t c e h n i c . I f t h e r e a d u s t mn et o f t h e t o n gueisnot

madeasth ej

aw i s m oe vd,thepu pilwillin evitb alytryto"hold

withhisj awandlip s i n s t ed a. H e w i l l t h n eloc

toopenitcompletely.H

thej

a w a n d f ial

ewill,therefore,tendtosing thesucceed-

ingtoneswithamouth resonancead

ustmentathroatytechnic.

fthevowelispharyngeallyresonatedandthenheld absolutely

constantthroughouttheentiresingingofthe triad,thenecessary

read

ustm entoftheps oi t i n oofthetong ue,asthejawismoved,

becomesmoreorlessautomatic.

Ma

orTriadn adJ

awMan i p u l tai o n

tisnearlyalwaysveryhelpful fortheteachertomanipulate

t h e p u pl i

sj

awwhenh e i s f i r s t l e ran i n g t o sni g t h e t r i d a.This

manipulationhasbeendescribed.H eshouldplacehis handsas

218

                                       

 



    

i n d i ctae d i n F i g . 3 2 a n d t h e n p u l l t h epupil

andbac

sj

awallthew aydow n

,withafirm,determinedgesture,as soonashestartsto

movethepitch.Thej

awmustbepulledthroughthe middleposition

firmlyandrapidly.Theeffortmaybeq

uitegreat,andnothingis

accom p l i s hd ei f t h e t e a ce hr f a i l s t o p u llthepup il

t h e m i dlde p o s iito n , o r t h ecrac

sj

,ifthereison e.I

awthru ogh

f d i e p u pl ib e c o m es

tenseandresiststhemanipulation,itmay beimpossibletoaccom-

plish.Undersuchcircumstancestheteachermust nottrytoforce

itorhe mayhurtthepupil.Thus,if theinitialattemptfailsto open

thej

a w , t h e taec h e r msut s t o p t h e pp ui l a n d t r y a g ain.Hemust

eepontryinguntilhe succeedsinperformingthemanipulation

properly.

nbadcass ea p r o c e s s for e l a

i n g , f reei n g a n d p oenin g t h e p u pl i

s

awwithoutsinging,orforsingle tones,mayhavetobeundergone

beforetheteacherisable toopenitcompletelyforthe triad.H

e

canoftenopenitwhenthe pupilissilentbeforehe candosoduring

thesingingofthetriad.

tocomp l e t eyl w o r

tis,indeed,imperativeforthe teacher

o u t t h i s por c esso f a b s o ltue j

awopn eing.I fhe

failstodoso, thepupilwillneverreallylearn tosing.S

thisj

awopeningiseasytoaccomplish.S

fterthej

ometimes

ometimesitisverydifficult.

awmanipulationhasbeenmadesatisfactorilyacertain

numberoftimes,thepupilmust beforcedtoopenhis ownmouth


completelywithoutmanipulation.I

so,hewillnearlyalwaysma

insta edofma

fheis inhibitedandfailstodo

eagesturewithhis head,lipsorboth,

i n g t h e fni a l  d o w n a n dbac

phaseofthej

ing.Thesegesturesmustbeobservedandstopped.A

awopn e-

llmovements

oftheheadandlips, whichshouldneitherspreadnorover-pout,

mustbestopped.Thisis particularlyimportantifthegestureis

madewhenthepupilis supposedtobeopeninghismouth,because

itoccursinsteadof theopeningmovement,andbecausethepupil

isonlytoooftenq

uiteunconsciousofhavingmadeeitherpneof

thesegestures.

Manipulations

llthemanipulationsmaybeusedwhile thepupilissinging the

ma

ortriad.Theymust,however,beutilizedproperlyandnot indis-

criminately.Thethyroidmanipulationisonlyemployedforthe

lowerregister.Thetongueinstrumentisuseda greatdealforthe

falsetto,althoughitmayoftenbeprofitablyemployedforthe lower

registeralso,especiallywithmen.Theholdingup ofthehyoidbone

andthepullingdownof thethyroidcartilage,aregenerallyboth

necessary.Thehyoidbonemanipulationmustoftenprecedethe

pullinginofthe thyroidtensionforthelowerregister,because,in

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manycases,thedownpressureonthe thyroidcartilagemaypull

thetonguedown,thusdepressingthehyoidbone.W

pingofthehyoidbone ise

henthisdrop-

cessive,thethyroidmanipulationcan-

notbeuseduntil ithasbeencorrected.W

musclesofthetongueandlaryn

iththebeginner,the

areoftenveryundeveloped.Under

thesecircumstancesthepullinginof thelowerregister,bymeans

ofthethyroidmanipulation,mustbeunderta

p r e su s r e m utsn o t b e e

encautiously.The

c e s svi e , b e a cusetostronga"pull

themanipulationinoperativeandevenharmful.I

r e n d res

nsuchcases,it is

oftenbestfortheteacherfirst tocorrectthedroppingof thehyoid

bonebymanipulationwhilethepupilsings thetriad.Laterthe

thyroidcartilagemaybepresseddownrathergently.The

pull

mustbesufficientforthe registertobecomepurerand,therefore,

forthetn oetobeloud e r a n d c l erae r , b u t i t msut n o t b e e

Theoptimumdegreeofpulldownmustbe foundbye

c e s svi e .

perimentand

udgedbyear.Thetwomanipulationsshouldsometimesbemade

alternately,andsometimessimultaneously.

Whenthepupil"gives

betw eenthetn o e s , t h eot n g u e rlea

es

and,underthesecircumstances,bothmanipulationsareaptto

becom e i n o p rea t i e v.A ssoonasa"

thegenio-glossusmusclesrela

give

o c c u r,st h e g e noi - h yiod a n d

.Thus,thehyoidboneand thetongue

maymoveupordown generallydown.H ence,themanipulation


o f t h e h y iod b o n ,ea f t e r t h epupilhas"given,

m a y s evr e o n l y t o

raiseittomuchandth usprod u c e a r e l aitv e l y " w h i t e ,

t h r otay

tone.O ntheotherhand,if thethyroidmanipulationisbeingused

whenth e"

give

o c c u r,st h e r e l a

thepullingdownofthe laryn

thatthetonebecomesthic

Thus,eachtimea"

give

a t i o n o f te hs e m ucs l e s r eu sltsin

andtongueitself,withtheresult

andthroaty.

occurs,whilethemanipulationsare

beingused,thepupilmustbe stoppedimmediatelyandmadeto

t r y a g ian . A s s o o n a s t h e " g i v e

hasoccu r r e d t h e taec h e r i s q u i t e

powerlesstohelpthepupilby manipulation,becauseanythinghe

m a y d o wl il t e n d o nyl t o m a

ethingsw orsetoren d e r t h e t oe nm o r e

throaty.

Themanipulationforseparatingthethyroidcartilageandthe

hyoidbone,incasesofmi

t h e p u pl i"

givs e,

s u n g atfe r t h e " g i v e

edregistration,isnotdestroyedwhen

inq

u i t e t h ea smedeg r e e , atlh o uh gt h e t o n s e

hasoccu r r e d wl il a l w asyb e m o r e o r l es

throaty.

Theuseofboththe thyroidandhyoidmanipulationstendsto

ma

e t h e t o n e sm o ewh at"

stages,althoughthis"

w h i t.e

whiteness

T h i s i s u nvao i db al e , i n t h e a erly

shouldbeconsideredasanunfor-

tunate,butnecessary,concomitantoftheestablishmentofpure

220

 



    

registration.Thetoneshouldbeasslightly

whitened

aspossible.

Theentiretriadmustbe sungwithaminimumofclosure,and the

w h i tn ee s s

itise

allow e d m u s t n tob e s u c h a s t o e ne gn d e r col s u r .eI

f

cessive,progressiveconstrictionasthepitchrises isaptto

occur.Thisisveryharmful,becauseit leadstomi

ande

edregistration

tremethroatiness.Theteachermustbecontentto gorather

slowly,insomecases,ifhe istoavoidengenderingmi

edregistra-

tionandthroatiness.W henthepupilhasan initial,mi

ed-register

condition,thelowerregistermustnotbe carrieduptoofar,and

theteacher

sgoalmustbepurity ofregistrationnot range.

Thehyoidbonecontrolforthe falsettotriadsisoftenris

causeofthe"

whitening

t h e f a le sttoisalw aysmi

y,be-

tendencyofthismanipulation,andbecause

ed,inthea erlystg a e s , we hn i t i s "

w h i t.e

ntheotherhand,in theearlystages,theuseof thetongue

instrumentforthefalsettotriadsis nearlyalwaysindicatedand

i s v e r y v lau a bel . T h e p u p i l m u s t b e sot p p d ewhenhe"gives.

soonasth e"

give

onthetongueinstrument.H

emust,therefore,stope

surethein stanth efeelsthep upil

m o s t otfe n o c c u rsj

s

o c c usrt h e t e a h cershou l d r e l esae t h e p r es u r e

stongu erela

ertingpres-

.Thisrela ation

u s t b eof r e t h e t p o t o n e o f t h e tira d i s s u n g .When

itismoreor lesshabitual,theteachermustanticipateit andbe

readytostopthepupil, andreleasethepressureonthe tongue


i n s t rm u ent,s as o o n a s i t t a

aw,Tn ogueI

e s p l a c.e

nstru mentan dMa

orTriad

When thetongueinstrumentisbeingused,the pupilshould

openhismouthallthe way,andthej

awshouldnotbemovedduring

theentiresingingofthe triad.Thevowelisso muchdetermined

bytheinstrumentthatit issomewhatindefinite.I

p u p i l t o am i atadar

dar

"

oo

or"

singa" white

oh

ee.

tisbest forthe

( a s i n h o t ) o,rf o r t h e f las e t t,oa t a

H e m u s t am i t o sni g a " d a r

"

o n e o r t r ise, u n c n o s c i osul y , t o g o " w h i t e ,

ascendingthetriad,hewillinevitablyma

t o n .eI

w h iel

easuddengesturewith

histongue,whichwillthengo outofcontrol,withtheresult that

theinstrumentwillbecomeinoperativeandthetonewill become

throaty.

awandMn a i p ual t i o n sforMa

orTriad

When usingthethyroidcontrol,thej

awshouldgenerallybe

droppedalltheway,althoughthenearlyclosed positionisocca-

sionallyused.F

221

orthehyoidcontrolthe

f h e am i sto

                                                                                                                                                                                                                                                                  

awmustalmostalways

                                                                                                                                                                            

  

 

    

                                             

bewideop e n . F o r a l l t h r e e c o nrto l s t h e j a w m u s t n o t b e m o vd e

duringtheentiresingingof thetriadorthe manipulationwillbe

somuchinterferedwithasto becomeinoperative.Theopening

gestu reofthej

awshou l d b e u n d ret a

enonlydu r i n g t h e sni g i n g

ofthetriad,whenno manipulationisbeingmade.

Ma

o r T r i asda n d R e g i set r C h a n g e (

e m a l)e

When thestagehasbeenreachedat whichthefemalepupilis

                                                                                                                                                                                                                                                                                             

abletosingthe triadsinbothregisters,withpure registration,up

toabou ttheC

( a b oevt h e m i d d l e C ) i n t h e l o wrer e g i s tre, a n d

t h e h i g h C , i n t h e f a l s tet o , s h e so hu l d s t rat w o r

ingontrid asin

whichbothregistersareused.

Thefirstsuchtriad tobesungis generallyF

-A ft-C

f(above

middleC ).Thefirsttwotones aresunginthe lowerregisterand

thetoptonein thefalsetto.Thistonewillnot beq

intensityline,becauseitis belowE

b.H

uiteinthe

owever,theintensitydrop

shouldbefairlyinsignificant.Thedropin power,whentheregister

chang esbelw o E b ( f o u rht s p a c e o n t h e t r e b l e cel f ) , msut b e j

right.I

mi

ust

fitis insufficient,thefalsettotonehasbeenpushedand

ed.I

fitise

c e s svi e , t h eaf l s etto t o n e i s c osnt r i cet d , t h e ber a

betweentheregistersisaggravated,andtheco-ordinativeeffect

ofthee

e r c i s e i s lsot . T h i,sh o w v e e r , i s n toa c o - o r dni a t i n ge



e r c ie s.

tspurposeisratherto relate,ormatch,theregistersand toenable


t h e p u pl it o c h a n g e r e g i set r s

t h r o tay . I

er

nma

illfu l l y w i to hu t m i

i n g o r g o ig n

i n g t h e r eigs t e r c hn ag e s h e s h o u l d n o t ber a

off,

o r lsur .

Themouthshouldgenerallybewideopenand stationaryatthe

momentatwhichtheregisterchangebetweenthesecond andthe

thirdtoneoccursin ascendinganddescending.Thisisimportant

nymovementofthej

awisundesirable,buteventheslightest

c l o s ig ng e s t uer d e s t ryos t h e b e n e f i cai l e f f c et o f t h e e

e r c ie s.I

fthis

closinggesturedoesoccur,thefalsettotone willinevitablybethroaty

a n d w il lo f t e n b e o cmemi

Thise

ed.

ercisemustnotbeattempteduntil suchtimeasthe

registersarereallyq

worsem i

uitepureorit willservemerelytoengender

e d r e g itsr a toi n . T h e t a e c h rew h o u s e s t h ise

nowthedifferencebetweenthesoundofa mi

e r c ie smust

ed-registertone

andofpureregistration.

A

dar

vowelshouldbek

h

( a s ni h o)ti s g n e ea r lyl u s d e f o rht i s e

e r cis .eT h e

eptconstantforbothregisters.Thepupil generally

t e n d s t o sni g t h e l o w e r r e g itse r w i t h a " w h i t e r

u a l iyt t h a n s h e

doesthefalsetto.Theregistersmustbe matchedinq

ualitynot

222





 



    

 inintensity.A

tthemomentatwhichthe registerchangeismade,

thetonguemustremaintenseandin constantposition.Theattain-

mentoftheabilityto holdtheresonancecavitiesconstantduring

t h e r e gsit e r c h n a g e i s o n e o fht e m a i n p u rposs eo f t h e e

soonasthevowelcanbe

e r c ie s.A s

eptconstantthroughtheregisterchange

thetransitioncanbemadesatisfactorily,andthe brea

willbe

almostundetectable.Theslightdropinintensitymattersless than

onewouldimagine.I

tseemstobemuch morepronouncedtothe

pupilherselfthanit istothelistener.R

emember,shemustnot,

underanyconditions,attempttoeliminatetheslight mis-match

oftheintensitylineor thee

Thise

ercisewillbecomeharmful.

erciseservesanotherveryusefulpurpose.I

reflc e t t h e " o p e nni g

nfactthisisanim portn a t m e asno f "

tones.Thise

ttendsto

ofthelow e r r e g itse r u p i n t oht e f a l s tet o .

open ingup

thelow e r f a l s tet o

erciseisnotsuited tomalepupils.Thereasonfor

thisisthatthe technicalfaultsinthefemalevoice aregenerally

associatedwiththefalsettoregister,whichmostwomenusee

clu-

sively,whiletheinverseistrue ofmalevoices.Theprocedureis,

t h e n , t oer f l e tct h e "

open ing

o f t h e m oer "

open

r e g itse r i n t o t h e

relativelythroatyone.Thehighesttriadin whichthelowerregister

canbeusd e , a t t h i s s tg ae o f d e vleo p mn et , i s C -

-G.Thelw o er

registerisalwayscarriedto thesamepointatnormalintensity.


Thus,therewillbetwolower-registertonesup toandincluding

thetrid aA

b-C-

bandonlyon e a b o v eht i s t r i a.dT h e c h a n gepoin t

mustbeset,however,accordingtothe stageofdevelopmentreached

anditshouldalso beemployedinsongsforall normal,fullvoice

singing.

UseofLowerR

Whenan"

egisterinPerformance

open,

purelow e r r e g itse r h a s b e n c a r r id eu p t h r o uh g

theD,onthe fourthlineofthetreble clef,itmaybeused inper-

form a n c e u p t o t hsit o n e . I t i s n e v e r c rar i e d f u rtherth anthise

cept

forfortissimoeffects,whenitmaybe employedthroughoutthe

e n t ier s i n g i n grange,p r o v ie dd t h a t t h e o viceis" open edup

and

developedfully.Theveryhigh,lower-registertonesneedhardly

everbepractisedduringthe technicalwor

out.When thisstage

hasbeenreached,thereisno intensitydropwhenthesingerchanges

intothefalsetto,becausetheE

223

bisin theintensityline.

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

 

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    

                                                                                                                                             

hang ingRegisteratLow erPitch

Thepupilmustlearnalso tochangeregisters

illfullyatthelower

pitches.Thus,thesingingoftriads inwhichthechangeis madeat

B , B b o r e vn ea t A

i s o f t e n hlep f u.lW h e n t h e c h a n g e i s m ade

attheselowerpitches,thedrop inintensity,atthechangepoint,

becomesmorepronounced.Theintensitylineisthenconsiderably

outofk



ilter.Thisdoesnotmatter,however,providedthatthe

ualitylineismaintained.Thechangeshouldbe practisedatall

thedifferentpitchesatwhicha reasonablywell-established ,pure,

falsettotonecanbeproduced.Providedthatthe falsettoisnot

pushd eandisk eptpuren ad"

open,

p r a citc e o f t h e r eigs t e r c hn ag e

attheselowerpitchesis beneficialandnecessary,becauseithelps

to"

open

thisreg isteran d b u i l d i t u p t o i t s flul s t r e n g t h . R e m e m b re

it neverdevelopsbeyondacertainintensity,atanygiven pitch,

howv e e r m uh citisbuiltup,e

voiceis"openedup.

cepttoth ee

tenttowh i c h t h e e nitr e

T h u,sa t a n y g i vn es t a g e o f " o p e n i n g ,

falsettotonecanbeso strongandnostronger.A

amiddle

talater stageitis

fuller,butatthis stagethelowerregisteris alsofuller,provided

thatthetechnicis beingwor

edoutproperly.Thus,therelative

dropinintensityforall tonesbelowE

sameatallstages,whenpure,"

bremainsmoreorless the

open,

balancedregistrationhas

beenestablished.


o n s tn at T h r otaA

Whenthise

d

ustm entandRegisterChange



e r c i s e i sifr s t u s e dht e r e i s n eral y a l wyas a p r o -

n o u ne cdtend encyonth epartofthepu piltobrea

changesregister.Becausethethroatad

offasshe

ustmentshouldremain

moreorlessconstant,i.e.,theposition of,andtensionon,thetongue

andhyoidboneshouldnotalter materiallybetweenthetones

this" brea

off,

whichn e e d n o t o c u r , c a n ad nm u s t b e e lm i i n aet d .

Thisisnotso difficulttoaccomplishasonemight imagine.I

pupilhasnotbeensub

fthe

ectedtoharmful,one-registertraining,the

registerchangeusuallypresentsrelativelylittledifficulty.O

thevictimofincorrecttraining mayhaveq

fcourse,

                                                                                

uiteabadtime when

shefirstattemptstochangeregister.

U s e o f B r o e n T o nci C

A

bro

wor

hordinRegisterChange

entonicch ord,inth ema

o r m o d ,ei s o f t e n uesf u l f o r t h is

b e c asue , i n s o m e c a s e s ,ht e w i d rej

theoctavefacilitatestheregisterchange.I

224

u m p b ew t eenth efifthan d

ncertaincases,this

                   



 



    

chordisalsouseful forcarryingupeachregisterseparately.W

hen

usedforthispurposethe pupilshouldsingit inastrict rhythmic

form,sometimesataveryfasttempo,withoutholdingthe toptone.

hemustnotspreadher lipsfortheupper tone,since,ifshedoesso,

thistonewillbecomeverythroatyand shrillandthee

proveharmful.S

ercisewill

hemaythenoftenbeable tosingtonessomewhat

higherthanthosewhichshecan producewhenshehastosustain

thetoptoneofthe chordatslowtempo.F

urthermore,whenshehas

sungthesehighertones,evenfora moment,shehaspavedtheway

forholdingthem.Thepsychologicalvalueofk

ma

nowingthatonecan

eagiventone,if onlyforaveryshort time,isoftenbeneficial.

n t e nist y o f M i d l e a n d H i g h F

a l s etto T o nse

alsettotonesabovetheD,onthe fourthlineofthetreble clef,

canbemoreor lessintheintensityline longbeforethepupilcan

                                                      

actuallysinganevenscalewith theregisterchangeatthe proper

point.Therefore,shemustbemadetosing thehigherfalsetto

t o n e s lu od l y , por v i d e d t h a t t hyea r e k e p t p u r e n ad"

thelow e r r e g itse r h a s f isrt b e e n etsa b lsih e d a n d"

suddenriseinintensityis verystartling.F

isaptto" holdbac

mi

"

open .

When

o p e nd eu p ,

the

orthisreasonthe beginner

andsin gtoneswh icharecon s t r i tce d a n d

e d . T hsii s e s p e cai l l y t r u eofthemorep o w efru l v o i e cs.I

tis

absolutelyvitalfortheteacherto insistuponthepupilsinging these


new,lw o e rr-e g itse r t o nsea t f u l l v o i e candas" open

a s p o sisb l e .

hemustdoso atonce,orshewill inevitablystarttoevenupthe

registersbyshuttingoffandmi

tones.I

mi

ingtheseloud,purelower-register

fshedoesthis,the falsettotonesderivedfromthethroaty,

ed,low e r - rg ei s t ret o n e s w il lb e e

trem elythra otyandth eentire

procs es o f t r a i n i n g t h e v ioc e w i l l b e d estry oe d . I f "

open ,

l o w re-

registertonesaredefinitelyestablishedinthe earlystages,noreal

d i f fci u l t y i n uisn g t h e t w o r e g i set r s s h olud e v e r b e e

perin eced.If

shefailstodo soshewillneverlearn tosing.Theearlystagesof

t h e t r ani i n g p r c o e s s a r,et h e n , e

trem e l y c r u ica l . I

fpure,"open,

lower-registertonesarenotimmediatelyestablished,andemployed

insongsaswell asintechnic,theentire trainingprocessisnullified.

a l s etto t o n s e, d e r ievd f r o m t h e"

open

l o w rer e g i s tre, a r e i m m e-

diatelyaugmentedinintensitytoanenormousdegree.I

fthese

intensifiedfalsettotonesarenotputinto thevoiceatonce,the

trainingprocessisdestroyed.Thisappliesin particulartothehigher

falsettotonesthoseabovethe Donthefourthfine ofthetrebleclef.

Wor

o n t h e t r id as , i n w hci h t h e r e gsit e r c h n a g e i s m ae d, i s e s s n e-

tialfrm o t h i s s t ad np o i n t.Onlyfull,"

225

open,

l o w re- r e g istertn oes

                                                                                                                                                                                                     

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 



    

maybesung,andthefalsettotones,derived fromthese"

                                                                                                        



open,

lower-registertones,mustbeestablishedtheytoomust besung

atfullvoice.Thisis trueevenwhenthelower,falsettotonesare

wea

. Q u i t e o fet n t h e p uer , l o w ref a l s tet o t o n s ea r e f a r t o o w ea

atastageat whichthefalsettotonesaboveE

b,onthetop space

ofthetrebleclef,are powerfulenoughtobeinthe intensityscale.

Womenwithsm a l l v o ie csarenotsoli

c u l t .yT h e "

open

elytoe

perin e c e t h i s dfif i -

t o n e s por d u cd eb y s u c h v oci e s a r e n toa p t t o b e

so,shallwesay,frightening.W

ithreallypowerfulvoices,however,

thesuddenincreaseinloudnessmaybe sopronouncedthatthepupil

mayten dto"

holdbac "

andcon s t r i c.tT h e t e c a h e r m uts, t h eer -

fore,beseverewiththepupil

especiallyintheearlystagesof the

train i n g . H e m u s t f o r c e h ret o e s t a bi ls h f u l,l"

open

tons ei n b o t h

registers,howeverinhibitedshemaybe,andhoweverdifficultit

m a y b e f roh i m t o a c c o m plishth i s e n d . I f h e f a i l s t o d o s ,oh e w i l l

n e v rem a

e h e r r e a lyl s i n g .

m p otra n c e o f " O

penin g

atRegisterTran sitin oPoint

Thelower-registertone,whichissungimmediatelybeforeafal-

settotone,iscrucial.The tendencyonthepartofthe pupiltosoften

andconstrict,j

ustbeforeshechangesregister,is verypronounced.

Theensuingfalsettotonewillthenbe sungine

Thisconstrictoraction,reflectingbac

tremeconstriction.

wardandforwardbetween


                                                                                                                                                    

thetworegisters,leadstoever-increasingthroatiness.Thechange

p o i n t an"

open ,

l o w re- r e g istertn o e f o l lw o edbyan"open,

f a l s tet o t o n eisthecru

full,

oftheprb olem.Inhibitionan d f e a r m uts

beovercomeifthepupil isevertolearnto singlegitimately.The

earlystagesofthetrainingare thehardestandthemostcrucial.

f a b a d s t a r t i s md ae t h e e nitr e t r a iinn g p r o e cssisheldup ,until

suchtimeasthe pupilcanbetaughtto establishpureregistration

andutilizefull,freetones inbothregisters.W

talented,thiscanbedoneat once.I

itmaybedifficult.I

henthepupilis very

nrelativelyuntalentedcases,

tmaybeverydifficult indeedwhenthepupil

hasmad e a b a d s t a r t whenshehasbensub

nbadlyhn a d l e d csae s t h e c osnt r i cito n a n d m i

e c t e d t o bd at r a i nni g .



tureofth elower

registermayevengosofar astoeliminatethelower,falsettotones

and,ine

tremecases,theentireregister.Undersuch circumstances,

apure,"open

l o w rer e g i set r m u s t b e etsa b lsih e d f roa f e w l o w

tones.Thefalsettotones,derivedfromthese"

tones,mustthenbefound.W

open,

henfound,theymustbe"

lower-register

openedup

andsunginbalancewith thelowerregister.Neitherregistershould

becarriedupveryfar, untilbalanceandestablishmentofboth

22

 



    

registershavebeenattained.Thismaybedifficult toaccomplish

butitmustbe done.A

v e r y h ih g "

shut-offfalsettotonemaybederivedfrom

s h u t o f, f

or"

s

uea

falsettomustbeestablishedfromthe"

fromthepure,"

open

o vice

opening

falsettotn oes,bu tthepure

whichisderived

lowerregister.Thus,thefirstdozenlessons

areabsolutelycrucial.I

ftheyarenotconductedproperly,the harm

donemy a n o t b e o v rec o m eforalongtim e.I

f t h e h a r m dn oe i s

sufficientlygreat,thetimelostmaybe serious.

a l l ay co f S

p e c i laQ u a l iyt C

harc a t e r itsi c s

We hearagreatdealaboutthe tenor,baritone,sopranoandcon-

traltoqualitis e. H e r e i s a s t a r t l i n g f c at

tenorq

T h eer i s n o s u c h t h i n g.The

uality,asunderstoodtoday,occursbecausethevoiceis

t h r o tay a n d m i

e d , wtih a l a c

u a l iyt c h a r a tce r itsi c i s "

    

o f l o wre- r e g i s t e r b laa n c ,ea n d t h e

w h i t,e

t h i n , trho a t y n adoftenn asal.h Te

b a r iot n e q u a l i t y i s g e n ear l l y t h eresultof"thic

lac

ness,

a n d o fet n o f a

offalsettoco-ordination.Thesamesortofthing istrueofthe

b a s s v ioc e . W i t h w o mn e

ofmere"thic

ness

s v o i c e s te hc o n t r lat o q u a l i t y i s t h e r e s u lt

and,na erlyalw ays,ofm i

e d r e g itsr a t in o. I

n

virtuallyeverycasetoday,includingthecasesin whichsomelower-

registertonesareemployedforafew lowtones,thecontraltovoices

are" thic

"

w h i tn ee s s , "

thee

a n d t h raot y . T h esoprn a o q u a l i t ysic h a r a tce r i zd eb y

s h r i lnl e s s a n d , v e r y otfe n , " n a s a l i t .y

2 7 5 0 4 0 1 3 0 5 1 0 9 3 . p d m / 7 2 0 2 / t e n . e l d n a h . l d h / / : p t t e h l / g o T o g M d G p 9 # 5 : e 3 s 2 u _ 3 s s 1 - e 9 c c 0 - a 4 / g 1 r 0 o . 2 t n s o u r ) t i y h t t i a s r h e . v i w n w U w / n / : p w t o t r h B ( / e e d L e z l i e t i i n i g a D d e n l a g o h t o a G N , r i n o a f d m e o t D a r c e i l n b e u G P cessivelydroppedlaryn

b o n e ,ot n g u e n adlaryn

white

forthehig h t o n e.sI

n c a s e s we hr e

hasbeeninsistedupon,i.e.,thehyoid

h a v e d rp op e d ,ht e v o i c e i s " t h i c

t h r o tay i n t h e m i d l e o f t h e r n a g e b u t i t i s i nvei t a b ly"

"

shrill

and

and

n a l l s u c h v oci e s t h e p ict h i s r a i s d e,

a b oe v a c e r t a i n pion t , b y i n rce aisn g t h e d erge e o f " s h r i lnl e s s ,

throaty-whiteness ,

Theq

or

andconstriction.

ualityofthetoneis actuallydeterminedbythevowel

sound,whenthetechnicisgood.Thus, anygroupofsingers,irre-

spectiveofwhattheirvoicesmightbe, producinge

actlythesame

vowel,atthesamepitch,withthe samevibratocharacteristics,

w o udl e a c h p r ou dc e a t o n e o f vrey n e a ryl t h e s a m eq

u a l iyt , e

cept

forthedifferencesinpower,providedthattheir technicswerevir-

tuallyperfect.Thecharacteristicwhichreallydeterminesthetype

ofvoiceisone ofthedistributionofintensitythroughthe rangeof

thevoice.Thetypeofvoice isdeterminedbythecharacteristicsof

t h e " p i t c h i net n s iyt

curve,notb y"

u a l iyt .

*

e e T h e S c i e n c e o f V o i c e , t h i r d e dtii o n , pg ae 3 5 3 .

227

                                                                                      

                                                                                                                                                                                                                                                                                                                            

      

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      TruePitchC

haracteristicofW ell-producedV oice

                                                                                         

Theoutstandingcharacteristicofawell-producedtoneis absolute

p i t c h d fei n iito n . I

thic

t i c a lyl "

,

t i s n e i t h re"

w h iet

nor"

dar

"

a n d i s n etih e r

s h r il ln o r n a s a.lT h e s t aet m e n t t h a t a v o ie c i s c h a r a tce r i-s

dar

"

isj

t h tai t i s " w h i e t

u s t a s m u c h a c rtii c im s o f a f a u l t a s i s t h etsa t e m ent

orsh r i ll . " W

h iet

and"dar

"

c o ol r s ra e u e sdlg e i it-

matelyforemotionaleffects.Theyconstitutedeliberatevariations

fromthenormalq

uality.Theproperly-producedtoneis,then,clear,

h a s a n a bo s l u t ley d e fni e d p i t h c , i s m e lol w a n d i s n etih e r " d a r

"

nor

w h i t.e

P e r sn oa l Q u a l i t y

a n d T e cn hi c

While thereissomeslightfoundationforthe ideathatthereis

apersonalq

ualityinagivenvoice,this characteristicisratherthe

outcomeofthepsychologicalandemotionalma

e-upoftheindi-

    

vidualthanofthestructure ofhisorher vocalapparatus,although

thisstructuremust,ofcourse,havesome effect.A sitis generally

                                                                                                                                                   

understood,however,thepersonalq ualityis,inactual fact,merely

theresultofthe particular,orpersonal,faultsintechnic.The tech-

nicale

theq

uipmentissopredominatinglythecontrollinginfluencein

ualitycharacteristicsofavoice thattheotherfactorssin

intoinsignificance.

fcourse,personalcharmhasan enormouseffectuponanaudi-


encean d i s o f t e n c ofnu s e d w ith"

erroneousidea.I

a l i t y myaf a i l t o m a

u a l iyt C

p e r sn oa l q u a l iyt

anentirely

nversely,anindividualwithanunpleasantperson-

eahitevenifheorsh e p o s s esse s a f i n e v ioc e .

a n n toB e D i v ocr e d f r m o A

c c u r tae I

nton ation

nnearlyallthe teachingmethodscurrenttodaythestressis

l a i d r aht e r u p o n

u a l iyt

thanup o n p i t c h (ni t o ntai o n.)P u p i l s

whoaretrainedbysometeachersneverthin

intermsofpitch

theyneverreallydefinepitch.Notonly dotheyslurhabitually,but

t h e y a losa t t e m ptto"

of"

p l a c ig n

or"

place or"

f o c ussi n g

indicate,tothepupil,a certainq

tau g h to t"

n a s la

pla ce

or"

focus thevoice.Whilethisid ea

i s w i t hu ot a n y f a tcu a l b aiss , i t d o e s

ualitycharacteristic.H eisgenerally

or"focus

h e a d r eosn a n e c.

t h eot n e " i n t h e m as

ue

ortou se

Thisen d e ao v r i s a s s o ica t e d w itha

definiteformofthroatinessan unpleasantq ualitycharacteristic.

orthisreasonthepupil, trainedundersuchmethods,isalways

aimingatacertainq

ualitycharacteristic,andpitch(accuracyof

      

intonation)becomessecondarytohim.

228

                                                                                                                                       

 



    

Thisisfactuallyabsurd,in viewofthefactthat the"

actuallymerely"

vowel,

uality

                                                                   

is

andthevowelisdeterminedbythe over-

tonesofthefundamental,i.e.,ofadefinitepitch.

fthefundamental

isnotestablishedandabsolutelydefined,theq

ualityor vowel

isalsoill-defined.Thus,theunfortunatepupilsof present-day

methodsarealways,ineffect,merelyaimingatthroatinessand

utterlydisregardingpitchdefinition.

stablishmentofPitchC

onsciousness

n e o f t h e f isrt g o a l s frot h e t e a c h eristoma

e t h e p u pl ip i t c h

conscioustoforce himtodefinethepitch absolutelyandaccurately

foreachtonehesings.

emustneverbeallowedto changethe

pitchafterhehas oncestartedtosinga tone.A

   

badly-trainedpupil,

howevergoodhisnaturalearmaybe,has blurredthesedefined,

mental(memory),pitchpictures.H emustbetrainedto establish

themsinglyand,forsingingmelodies,asse

uence,memorypic-

tures.Thus,thepupilmustlearn thenotes.H

emustbetaughtto

establishdefined,mental,pitchpictures.Thisisa vitalconcomitant

ofpropertraining.W ithoutittherecan benorealsinging

the

soundswhichemanatefromthepupilwhohas notestablished

definitepitchconsciousnessaremerenoises.

hythmandPitchDefinition

norderthatthe pitchmaybechangedwithprecisionand accu-


racy,whenmovingfromonetonetoanotherin thesingingofa

triadorofany othermusicalfigure,thistransitionmustbe accom-

plishedatanabsolutelydefined,pre-determinedinstant.Thedefini-

tionofthee

actmomentatwhichthepitch changesisprimarily

arhythmicproblem.C

ueingise



tremelyimportant.Unlessthe

p t i p i l hsab e e n t a u ghttooby e t h e t e ah cer

scues,heisquiteoutof

hand.Theteacherisunableto controlhimandtoma

ehimstart,

moveattheproperinstant,or stop.Thiscontactbetweentheteacher

andthepupilis mostimportant.I

                                                                                                                                  

tmustbeengenderedatthe incep-

   

tionofthetrainingprocess.The teachermustbeseverein this

p h a s e foh i s w o r

.

When teachingthepupiltosing thetriad,heshouldbe given

certainnecessary,physicaldirections,whichareindicatedbyhis

techn icalfau l t s . S u c h d i r e c t in os m a y b e : " R

yourmu oth

p o tsu e r

"

" "

o v e rp-o u t t h e lpi s

229

"

dropyu orchest

"

shw o y ou r t ee t h lsi gh tyl

"

"

aiseyu orhead

" "

open

getyou r b o d y i n t o te hp r o p e r

" "

don

t s pe r a dht e lpi s

e t c . O r m a y b e h e s h olud b e t o l d t o h lod h i s

" "

don

t

                                                                                                                                                                                                        



 

    

awnearlyclosed,withthelips slightlyraisedofftheteeth,in readi-

nesstoopenas heascendsthetriad.Thereare somanysuchdirec-

tions,andtheyareso entirelydependentuponthepupil

spersonal

faults,thatitis difficulttodomorethan suggestafewofthemhere.

Whenevernc e e s s ray , t h e tira d s h olud b e p l a e ydinitse

rhythmicformandtemposeveraltimes.A

act

fterafewtriadshave

beensung,therhythmicpatternshouldbe set.W ithachangein

tempo,orrhythmicpattern,ofthetriad,it shouldbeplayedseveral

timesinthenewtempo,or patternalthoughonceshouldbe enough.

m p otra n c e o f C u e s

s s o o n a s t h e tira d h e i s t o s i n g h a s b e e n srtu c

                                                                                                             

onthepin ao,

thepupilmustobeythe physicaldirectionsgivenhim.W henhe

hascompletelyobeyedthem,thecuetoneis struc

ofthetriad.A

hemustattac

ontheinspiratorygesture.H

emustnotanticipate

thecuetone.

venafterhehasstartedto sing,hemustbeconsciousof the

pianoand,iftheplayingstops, hemuststopsinging.V

thepupilshouldholdthe toptoneofthe triad

eryoften

sometimes,ifheis

singingittoosoftly,the teachershouldindicateacrescendoby

stri

ingthechordseveraltimesloudly.S

h e l d , tp ot o n e q u i c

ometimesheshouldleavethe

ly,eith erbecu asehehassu n g i t b a d l,yo r b e -


causehehasstartedto dosomethingwrong.A

shouldsinginstrict rhythm.I

tothertimeshe

nanyevent,hemusthold upthetop

tone,swellingitifa swellis-indicated,andk

eepingitatconstant

intensity,ifnoswellis calledfor,untilhehears thefirstdescending

toneplayed.H emustthenimmediatelymovedownthelast two

tonesofthetriadin therhythmicpattern.H

tonethemomentthene

emustcomeoffthetop

ttoneis played.Thisisveryimportantbe-

cause,ifhehasdone somethingwrong,bycomingdownpromptly,

hestopssustainingatone whichishurtinghis voice.

Nevertheless,hemusthavetherhythmicflowofthe triadinhis

mindandhemustnot stopuntilsotold.O

fcourse,theplayingis

alwaysinanestablishedrhythmandthe pupilmustmovewithit.

e m u s t a t a l l tm i e s b e l i set n i n gtothepianon adnottohisow n

voice.I

fhelistensto hisownvoice,theprocessis destroyed.The

self-listenerisunabletofollowthe cue,orthepiano.H

s i n gni g a g a i n stthetec ah e r

hasben e m o r e o r l es b r o

s g u i d acne . I

eisalways

n v e re s l y , " s e l f - l i set n i n g

endownw henthepu p i l h a s l e ran e d t o

followthecue.Thepupilmust becompletelyalertandhismuscular

systm e "

230

  

the firsttone

ssoonashe hearsthistonehemust breathe,and

toned

t o b r e aht e a n d s t rat s i n gni g a s s o o n a s h e h earsthe

                                                                                                                                                                                                                                                                                                                                                                                     





 



  



 



 

cuetone.Beforehestartsto sing,allthemusclesused inphonation

mustbeinoptimumtonusor relativelyrela

ed.Thus,thebreathing

musclesmustnotbepre-tensedand,whilesomeslight tensionof

theinspiratorymusclesmustoccurwhenhe inspireshisbreath,the

tensiononthesemusclesforphonationmustnot occuruntilthe

momn e t a t w h ih cheattac

sthefirsttn o e o f t h e t rai d . I

fheta

es

abreathandholdsit, whilewaitingforthecue,he willalwayssing

onaforcede

piration,slufupintothe toneandpush.Thetension

onthebreathingmusclesmustbe oftherightdegreeand occur

atthee

actmom e n t o f a tat c

nottoosoonan d n o t t o o l aet . F u r -

thermore,hemustestablishase

uence,memorypictureofthe

fivetimed,gradedtensionsforthefivetones ofthetriad,before

hestartstosing. Mostimportantisthefactthat themusclesatthe

seatofaction,i.e.,themusclesof thevibratorandtheresonator

(tong u e a n d l ayr n

) , m u s t b e rlea

thefirsttoneis attac

eduntilth emomn e t a t w h ih c

edandthetriad started.Thus,inpreparation

forthesin g i n g o f a t rai d , a fet r t h e c h odr h a s b e e n srtu c

m u s t r eal

, t h e p u pl i

histong ue.As soonasheh earsthecu etone,hem ust

b r e aht e a n d t h n eattac

it,brin g i n g t h eot n g u e n adlaryn

tensionand,asplitfractionof asecondlater,ta

tensing,thebreathingmuscles.H

into

ingholdof,or

emustthenmoveoverthe triad

inunisonwiththepiano.The senseoftherhythmicpatternenables


himtodothis.

Whenthealertpu p i l f o l lw o s t h e c u e por m plty , a n e

a c t i n t rev a l

oftimeelapsesbeforeheis abletostartsinging.This intervalof

timeisdeterminedbythelength oftimenecessarytoreceivethe

soundimpression,breatheandbringthevocalapparatusinto action.

f h e s i n g s wtih t h e c u e t n o e , o r t o o soon , h e i s n o t l itse n i n gtoit,

andisnot,therefore,obeyingit.I

cuetoneandtheattac

fhewaitstoo longbetweenthe

,heisnot respondingandreallyobeyingthe

cue.Assoonasheattac

s t h e f i r s t tn oe , t h e r h ythmsh ouldbepic

ed

upbythepianist andthepupilshouldmovewiththis rhythm

andwiththepiano.

Theimportanceoftheteacher

sinsistenceuponthepupil

ectin o t o t h e c u e c a n o t b e e mh pa s i e z d t o o s t rn og l y . I t

meansofcontrollingthepupil

ssub-

i s h i s c h i fe

svoice hismaincontactwiththe

pupil.W ithoutitmuchofhis abilitytoteachthepupil howtosing

islost.

231

                                                                                                                                                                                                                                                                                                                                                                                                                                                            





 

    

       M a l e V o i c e s , L e so snsGen e r a lyl S

With men

t a r t wtih F

a l s etto

                                                                                                                                                                                                                                                                  

svoicesthelessongenerallystarts withthefalsetto.

ntheearlystages,the tongueinstrumentisusuallyneededforthe

falsettotones,whicharealwayssungwitha vowelwhichappro

mats et h e d a r

ee,

minedbythetongueinstrument.ThetoneF

C

i-

a l t hu og h t h e v w o elsou ndisprim a r i l y d tee r -

isusuallyagood startingnote.A

orF

#abovemiddle

noctavehighershouldbe played

onthepianoforthe men.Despitethefactthattheyare really

singinganoctavelower,itis bestforthemtoassociatethis octave-

lowertonewiththetonean octavehigheronthetreblecl ef.The

triadsforthemenare playedinthesamepositionas thoseplayed

forthewomen(anoctavehigherthan theyareactuallysung).W

t h e r e i s n oaf l s etto , o r w hn ei t i s m i

hen

ed,thels es o n m u s t b e s t a ret d

withlower-registertones,generallyusingthelaryngealcontrols

and,sometimes,thetongueinstrument.I

fthevoiceis balancedto

thefalsetto,thelessoncanwell bestartedwithlower-registertones

sungveryloudlyandhelpedby meansofthelower-registermanipu-

lations.I

nmostcases,however,startingwiththefalsettois ad-

visable.When thefalsettoissufficientlypure,the"

t h e f a le stto e

fortheattac

e r c ie s b e g i n.sW i t h t h i s e

tothelow e r r e g itse r . W h e n u s i n g te ht o n g u eni s t r u -


m e n,to r t h e l a r n ygealcn o t r osl, c u e h i m b ya sying :"

Go

twice.

Goingh Troug h t h e F a l s etto

Whenthepupilissin g i n g t hsi"

cise,whichhasbeendiscussedin

g o i n ght r o u g h t h e f a le stto

er-

edfalsettoleadsto

e d l o w rer e g i set r a n d , a s w iththewm o en,th emi

throatinessarereflectedbac

e

hapter9,thefalsettomustbe

completelyestablishedandpure,becauseami

ami

once

ofthefalsettoand,thesecond time,forthepupilto

g o t h r og uh

WhentoUse"

goingthrough

erciseu setwocus e

turean d

wardandforwardbetweenthetwo

registerswithdisastrousresults.Thepupilshould seldomsingthe

falsettoatapitch higherthanthatofthe highesttonehecanpro-

ducewiththelowerregisteradded.The onlye

ceptiontothisis

wherethevoiceisbalancedto thelowerregister,underwhich

circumstanceshemaysometimessingtwoorthree toneshigherin

      

thefalsetto.

alsettotriadsareneverusedwith themalepupil,becausethey

areattoolw o t e n soi n , i n h i s s i n g i n g r ag ne , f o r t h ise

                                                                                                                                                                       

e r c ie stobe

beneficial.Theuseoffalsettotriadswouldtend onlytoinduce

t h r o tai n essa n d m i

t u r e , j u s t a s t h e sni g i n g o f e vryhigh , s i n gel ,

falsettotoneswould.

232



  



    

      e g i set r C h a n g e a n d P i t c h rTa n stii o n S i m i l a r

A j

er

,"

give orslurbetwen e t h e f a le sttoan d t h e l o w rer e g i set r ,

inthe" goingth r o u g h te hf a l s etto

tothej

to"

er

,"

e

e r c i s,ei s a s i m i l a r pe hn o m enon

give orslurbetwentheton esinthetrid a . L e anr i n g

gothru o g h t h e f las e tot

withu ot"

givin g

orj

er

inghelp sto

teachthepupilhowto movethepitch,andviceversa.

Theabilitytoholdthe tensionthroughouttheentireprocessof

singingamusicalphrase,ortune, isoffirstimportance.Thesinger

whohasnotbeentrainedto dothisallthe timemustinevitably

becomethroatyheis utterlyunabletoproducehis voiceproperly.

Therearethreephasesofthe technicinwhichthe pupilcan,and

must,b etaugh tto"

hold.

l l t h r e e aer s i m i l ra, a n d w h enonehas

beenmasteredtheothertwosoonfall intoline.Thesethreephases

ofthetechnicare:

1.Theattac

2.Thechangeofregister

3 . C h a n g i n g p i th c

n a l l t h r e e csae s t h e m u sclesofth ethora

(diap hragmn a d l o w re

ribmuscles)andthemuscles ofthetongue(genio-hyo-glossus

                                                                                                                                                 

muscles)mustmaintaintheirtension.Thetensionon thesemuscles

mustbeestablishedatthemomentof attac

reles ae d , a s i t wl il b e i f t h e p u p ilslursorj

          

andmustnotbe

er

s.I


tmustbe" held

in

thetransitionfromoneregisterto theother,whetherthechangeis

madeonn o eto neo r oe v r a n i n t rev a l . I t m u s t b e " h e l d

whenth e

pitchischanged upordown irrespectiveofwhetheraconsonant

i n t evr e n s eo r n o t . A m a

o r p h ae softeach ingtech n i c l i e s i n i ntsr u c-t

ingthepupilhowto holdtensioninthesethreephases ofthetechnic.

Triadssungwitha"

give

betweenthetonesareoflittle ornovalue

and,asln ogasthe"give

p e r ssit s , t h e tn og u e wl il d r o p e vrey t i m e

itoccursn adthetonew illbecom e t h r o tay . A r e l a

a t i o n o f te h

inspiratorymusclesatanytimeduringphonationalwaysco-ordinates

witharela

ationofthegenio-hyo-glossusmuscles.H oldingtension

isofparamountimportance.

Triadsforthemalevoicesgenerallystart atmiddleC

,Dor

(actuallyanoctavelower)andgoup asfarasthe pupilcansing,

w i t hu ot s h u titn g o f f , tat h e g i v n e s t a g .eT h e d e ger e o f "

w h i tn ee s s

dar

ness

or

t o b e e m pol y e d i s s o dp ee n dn et u p o n t h etsa g e o f

developmentthatitisdifficultto givethereaderanyrules.Before

thefalsettohasbeenbroughtinto thevoice,thelowerregisteris

g e n ear l l y q u i t e "

w h i t.e

T h i s " w h i t e n es ,

mizeds am u c h a s p os i b l ,eb u t a n e

233

howv ee r , s h o u l d b e mni i -

c e s s ievl y " d a r

"

t o n e wl il a l s o

                                                                                                                                                                                                                                                                                          

  

    

l e a d t o t hor a t ie ns s i n t h e e ral y s t a g es.As soonassm o e"

                                                                              

open ing

andtheestablishmentofpureregistrationhavebeenattained,the

voicecn abe"

dar

o n wtih a " d a r

ened andthe"

,

a n d fot n eane

open i n g p r o c e s s i s t h e n crar i e d

tre me ly"dar

ascendingtonemustbeaugmentedinloudness.I

" q

u ai lt .yE

ach

ftheintensity

dropsinascent,thepupil hasgonethroatyandmustbe stopped

immd e i a t ley . T hsii s t r u e w h teh e r h e i s u sni g t h e " d a r

"

or"

white

u a l iyt .

alsetto-derivedandLower-register-de rivedTones

ntheearlystagesof training,thetonesderivedfromthefalsetto,

b y m e asno f t h e "

ferentq

goingth r o u g hht e f a l stet o

e

e r c i s,ea r e o f a d i f -

   

ualityandhaveadifferentmuscularco-ordinationfrom

thosederivedfrombelow,bymeansofthel ower-registertriads.

                                                                                                                                                                                                                                                                                                                                         

Thetonesthatarederivedfromthe falsettoaregenerallyconsid-

e r a byl "

dar

er

t h a n t hsoe w h i c h rae b r o u g h t u p f r o m bleo w 

derivedfromthelowerregister.A

tthisstagethe lowertoneshave

amoreorless throatycharacteristic,whichisdistinguished,inmost

c a s e,sb y "

w h iet n e s.s

n t h e o t h reh a n d , t h e t o n e s d rei v e d for m

thefalsettohaveamoreor lessthroatycharacteristicwhichis dis-

tin g usi h d ebye

c e ss i ve "

dar

Thesetwotypesoftonesmustbe

n e ss ,

orth ic

openedup

related,inprogressivestages.Thethic

nessofthefalsetto-derived


tonesshouldbemodifiedby"

opening,

somw e hatls es t h i c a n d "

dar

.

n e ss .

andmatched,or

whentheywillbecome

Thethra o t i nses o f t h e " w h iet ,

lower-registerderivedtonesshouldbemodifiedby"

dar

ening

andbytheintroductionof certainphasesofthefalsettocharacteris-

t i c , w hn et h e y w il lb e c o m efarless"white.

Noteth a t t h e u l tm i ate

u a l iyt o f t h e v o i e cisderie vdfromth epure,"open,

characteristicratherthanfromthelower-registerq

theless,thepower,"

openness

andthevirilecharacteristicsare

derivedfromthelowerregister,orfrom below.I

tobewor

fitwereto be

edoutfrombelow,withoutthefalsettocharacteristic,thehigh

tonesw ouldnv ee r b e s un g,e

theq

fthevoicewere

edoutfromthefalsetto-derivedtonesalone,itwould

fadeoutforthelower tonesandbecomethroaty.I

wor

f a l s tet o

uality.Never-

c e p t i n a t h raot y , m i

e d r e g itse r , a n d

ualitythroughouttheentirerangewouldalwaysbethroaty

andgen e r a lyl "

w h iet

a n d n aa slorthic

. T h e rfeo r e , w or

from

aboveandfrombelowisessential.Lower-registertriadsshouldbe

startedataboutmiddleC

andbaritones,andataboutE

(reallyanoctavebelow)forthebasses

(foursemitoneshigher)forthe

tenors.

234





 

    

nwor

i n g o n t h e t rai d s f o r t h emen

s v o i c e,st h e r e a d ermust

rememberthateverythingsaidaboutwomen

e

svoicesholdsgood,

ceptforthefactthat menshouldseldomsingtriadsin whichthe

registerchangeoccurs.

White

L o w oT n s eS

                                    

hou l d B e A v o di e d

Theverylowtonesaresung atlowtensionanddo notneedto

bewor

purityofregistration,resonancead

ustmentandaccurateintona-

tion.Theymustbesungat fullvoice,buttheymustnot bepushed

orforcd e . T h e l od u, "

w h i t ,e

lowton eswhichm e n w i t h haev y

voicesareapttoproduce arenotresonatedproperly.Theirloudness

characteristicisprincipallynoise,whichmustbe eliminated.The

p r o bel m o f r e sn oa n c e a d u s t mn et , i n w o r

i n g o u t t h eol w t o n s e,

dependsupontheuseofthe cavitiesbelowthelaryn

,i.e.,the

tracheaandbronchi.

Theemploymentofthesecavitiesdependsprimarilyuponpitch

definition.Theycomeintoaction,moreorless automatically,when

thepitchisdefined properly.Thetensionforthesetonesmust

alwaysbesufficientto"

string

thevocalapparatusandabsolutely

definethepitch,butit isnothigh,andthere isoftenatendencyfor

thepupiltopush orforcetheselowtones.The realbassissome-

whatofane

ceptiontothisstatement,becausehislow tonesshould


boomoutwithconsiderablepowerand,therefore,theydemanda

greatdealmoretensionthanthe thelowtonesofthe tenororeven

thebaritone.Theabilitytoproducethese tonesmoreorlessprop-

erly,however,isveryoftenq

uitenaturalwithatalentedbass. The

mereisolationandpurificationofthefalsettohas animmediate,

beneficialinfluenceonthesepure,low,lower-registertones.I

n

everycasethedevelopmentofpoweratthe bottomoftherange,

withinthepowerlimitsofthe givenvoice,isanimmediatecon-

comitantoftheisolationandpurificationof theregisters.

limin a t i o n fo"

Noisy

M i d del T o n e s

When thepupilisin thestageatwhichthe lower-registerderived

tonesarenotrelatedproperlyto thefalsettoderivedtones,heis

abletoproduceveryloudtones intheneighborhoodofthetone D,

onthefourthlineof thetrebleclef(actuallyan octavelower).

Thesetones,whentheycanbeproduced,havea shouty,ornoisy,

characteristic.When thevoicehasbeenlined up,andthelower-

registerderivedtoneshavebeenmatchedinq

235

     

edonverymuch.Theirproductiondependsprimarilyupon

ualitywiththefalsetto

                                                                                                                                                                                                                                                                                            

                                                                                               

  



    

                                                                                                                                                                                                                                    

derivedtones,thereisveryoftena dropinloudnessinthis middle

partoftherange.The readermustrememberthatweareaimingto

obtainanevenscaleofpurely registered,"

intonedtonesnotnoise.I

toma

open,

free,perfectly

tisveryoften possibleforthepupil

e m u c h m oer n o i s e wtih a b a d l y por d u cd et h a n a w e l-l

producedtone.Theincreaseinloudness,whichoccurs asthevoice

open sup,

teach er

swor

isenorm ousand,n oeofthems ot d i f fci u l t p h s ae s o f t h e

l i e s i n f ocr i n g t h e pp ui l t o s i n g a t t h e i n t e nist y l e e vl

demandedbythestageof"

opening

whichhehasattained.Never-

theless,atanygivenstage,thepupil, maleorfemale,maybeable

toma

eafar loudernoisebyshouting,screamingorforcingthan

heorshecan producelegitimately.S uchnoisesmustbeeliminated.

n e g r e tas i n g e,rs p e a

h a s s u c h a g lroi o u s vioc e

ingofCaruso

s v o i c ,es a i d : " H

e ( C a r u s)o

itissowond e r f u,ls o b e a uitf u l ,o ssoft

nthisstatementwasa verysignificantobservation:O fcourse,

arusohadanenormouslypowerfulvoice,butthisvoice

themost

perfectly-producedtheworldhaseverheardwas nevernoisy

e h

nevergaveonetheimpressionhewassinging loudly.H istonewas

characterizedbyanabsolutedefinitionofpitch,vowelq

aremar

ablycorrectvibratoaction.V

ualityand

irtuallyallnoiseelements

wereabsent.

Well-producedV

oiceNeverNoisy


When avoiceisreally well-produced,itisfull,resonantand

beautiful,whereveritmaybeheard.I

tmayoverloadtheeardrums

inaroom,but itisneveroffensiveandneversounds noisy.E ven

afairlypowerful,loud,forced,badly-producedvoicemaysound

farnoisierina roomthanavoicewhichwasproducedproperly and

which,whenheardinanauditorium,completelydrownedthenoisy

   

voice.Thedropinintensityof agreatvoice,whenheardin an

auditorium,asagainstitspowerwhenheardin aroom,isremar

-

                                                                                                                                                                                                                      

ablylittleascomparedwiththat ofabadly-produced,noisyvoice,

whichfadesouttoan incredibledegreeassoonasit isheardinan

auditorium.Thecarryingpowerofawell-producedvoiceis pri-

marilydependentuponpitchdefinitionandthevibratocharacteris-

tics.Toneandintonationarethe goalsatwhichtheteacheris

aimingandnotmerenoise.F

urthermore,thereissometimesareduc-

tionofloudness,becauseoftheeliminationof thenoiseelements,

asthevoiceimprovesanddevelops.O

fcourse,thisreductionof

loudnessisnottheresult ofclosure.I

tismerelyan elimination

ofthenoiseelements elementsdependentuponill-definedin-

tonation,unevenvibratomovement,ortremolo,andprobably,a

23





 

    

badly-ad

ustedandfluctuatingresonancead

ustmentwhichgives

risetoa fluctuatingspectrum.

           

a r r yni g Q u a l i t y a n d S u s t a i n i n g T n oe

Theabilitytosinga musicalphraseinwhicheachtone isheld

atconstantpitchandvowel,or

    

uality,foritsentireduration,and

withtheconsonantsarticulatedasrapidlyas possible,determines

toalargedegreethe apparentpowerofthevoice.W henatoneis

sunginanauditorium,a soundpatternisbuiltup. Theestablish-

mentofthissoundpatternta

esadefinitelengthof time,depending

uponthereverberationcharacteristicsoftheauditorium.Thistime

canbeamatterof onetoseveralseconds.I

fthetonestops before

thesoundpatternhasbeenbuilt upcompletelyandreceivedby

thelistener

sear,theapparentloudnessof thetoneiscurtailed.

Mostofthetonesin amusicalphrasestopbeforetheyhaveactually

beenreceivedattheirfull loudness,butitma

esatremendous

differenceifthelengthoftime theyareheldis ofma

imumdura-

tionorifi tiscurtailedby slurring,changingspectra(vowelvaria-

tions),waveringpitch,gapsorover-sustainedconsonants.Thusthe

singer,whosetechnicallowshimtohold eachtoneaslongas pos-

siblewithconstantpitchand

ualitycharacteristics,isabletofill

anauditoriumfarbetterthanone whosetechnicandmusicianship

arefaulty.Thecutoffof thevoiceofthesinger whosetechnicis


r e a lyl p o o r a n d w h o h a b iut a l l ylsu r s , wvae r s t h e p itch,j er

sand

over-articulatestheconsonants,andwhoisthuscontinuallybrea

ing

themusicalline,isso pronouncedthathecanhardlybe heard,even

whenhej

ssingingloudly heconveysnosenseofpowerwhatever.

venasmallvoice,whichis reallywell-produced,andwhichis

sustainedproperly,isalwaysaudible,eveninthelargest auditorium,

andactuallygivesthelisteneran impressionofpower.Pronounced

slurringandamusicalline bro

enbyslow,sustainedconsonants

andgapsengenderedbybadly-articulatedconsonants,j

er

mayactuallycutdownthetimeduring whicheachshorttoneis

heldbyfromhalfto nearlyallofits duration.Thecutoffin the

carryingpowerandapparentintensityissimilarlycurtailed.

237

s,etc.,

                                                                                                                                                                                                                                                                                                                                                                





 

    

h a p tre1 3

I N T R

WhattheS

PR E T A T O N

i n g reS

houldKnow*

ingingisglorified(ormagnified)speechcombinedwith thelanguage

ofmusic.Music,whichis itselfalanguage,maybeanalyzedj

ustasa

 

grammaticalconstructionmaybeparsed.Thereisnoreason foremploying

themediumofsongunlessthe interpreterisabletopaint hispicture

uponalargercanvasthanthe onewhichiscalledfor inspeechorrecita-



tion.Thesingerwhodropsinto orbelowtheintensityrangeand dramatic

fervorofspeechismerelystultifyinghis art.H

ismedium,ifhehas any,

isinthe fieldofrecitation.

nabsolutemusic,evenwhenthereis nosuggestionofatitle andno

programe

     

planation,acompleteemotionalpicturemaybeconveyed

totheaudience.H

owgreat,then,isthe effectwhichmaybewrought

                                                                                                                                                                                                                                                            

byarealartist whointerprets,withtruemusicianship,thecompositions

ofthegreatmasters,andwhocan givetothepoemits fulldramaticvalue

A

singermustneveralterthe musicalfactswhichhavebeensetdown

bythecomposer.H

ence,anytranslationofthewordswhichdemands

addednotesorchangesin themetricalfiguresshouldmeverbetolerated.

When thepublisherhasallowedsuchill-wroughttranslationsto appear

inprint,thesinger mustsoalterthemthat theyfitthemusice

actly.

Theartistmustunderstandtheidiomof thelanguageofmusicas


thoroughlyashecomprehendsthatofhis mothertongue.Untilthe

musicalfactsarelearnedwithmechanicalprecision,he isnotfreeto

e

presssincereemotion.Therenditionofasong orariamaybe paralleled

t o a n a c t ro

for

sreadin gofalongspech.Th e t a l e net d a c t rod o e s n o t " f e e l

t h e w odr s i n h i s s p e c e h  t h e s i n grem u s t n o t " f e e l f o r

t h e n o tseo r

themetricalfiguresinthe music.Thecompetentactordoesnotenunciate

eachandeverysyllablewithe

ualstress.S

imilarly,thesingershould

encompassthemusicalphrasewithabsolutefreedomandeaseand,at

thesametime,givetoeach beatitsproperproportionofstress.

ustas

theactormustnotstumbleover hislines,sothe singermustcoverthe

musicalphrasewithdefinition.Thewiderthegroup ofwordsornotes

theactororthe singer,respectively,canconceiveasasingleunit, the

moreintelligibleandpoignantwillbehis performance.Carrying the

comparisonstillfurther:J

ustasthefinishedactor contrastsonephrase

withanother(ifaphrase hastoberepeatedhenever interpretsittwice

withe

*

actlythesamecolor),so thesingermustcontrastonemusical

W r i t e n i n c o l l ao br a toi n w i t h A l m a S

238

t a n lye, B . A .

       



  



    

phrasewithanother,fromthestandpointsofcolor anddynamics,ifhe

istoroundout hisperiodsartistically.F

actor

inally,wemaycomparethe

s r e n d iito n o f a p a rg ar a p h i n a s peec h t o t h e s i n ger

s r e n d iito n o f a

sectioninasong.The entiresongoraria musthaveallthediverseemo-

tionsclearly-definedagainstabac

groundofperfectlyconceivedand

balancedphrasesandperiods.

nactorwh o h a s o n l y pal y e d S h a

espa e r e a n r loe s i s a p t t o b c eo m e

unfittedfortheportrayalofroles inthemoderndrama.S

singerwhohasdevotedhimselfe

imilarly,the

clusivelytooneschoolof musicisapt

tofailinterpretivelyandvocallyiif heendeavorstosingthemusic ofother

schools.Thetrueartistshouldbe familiarwithallthevariousschoolsof

m u s i c theC

l a s sci a l , R o m a n t i ,cM o d enr a n d U l tar - m d oernSchools.He

m u s t s td uy t h e s o n g s o f t h e C l a s s i c a l P rei o d , Lei d e r , F r e n c h , S p a n i s h ,

ussin a s o n g,se t c . , t h eO

peraandtheW

s t u d y foM o d enr A

peraofth eBelCantoPeriods aw e l l a s M o d ern

agnerianMusic-Drama,etc.Norshouldheomitthe

rtS

ongs,B a l l asd, a n d e v n etheOperaC

omi

ueand

p e r etta .

Whenta

ingupthestu dyofanewsn o g o r a r i a ,ht e p u p i l s h ould

alwaysnotetheschooltowhich thiscompositionbelongs.I

fitis charac-

terizedbyanynationalidiom,hemust becomeimbuedwiththesenational

peculiarities.I

tisimportanttonote thatthenationalityofthecomposer

isnotnecessarilyak

eytothenationalidiomof thecomposition.


llpeopleshaveintheir musicadefiniteidiomwhichis anoutgrowth

oftheirfol

tunes.Thenationalcharacteristics,orbases,ofthecomposi-

tionwhichheis singingmustbeunderstoodbythe performerbeforehe

attemptstointerpretthesong.

nobviu o s f a c t t htas t r i

e s t h e e y ,ew h e n o n eloo

scoreofanopera,is thatitconsistsof twoparts:O

other,theinstrumental.A

satasongoratthe

ne,thevocal,andthe

perfectensembleshouldalwaysbemaintained

betweenthesingerandtheaccompanist.Theaccompanistshouldnever

beaheadofthesinger (pullinghimon),nortrail behind(following)him.

Thus,aperfectbalancemuste

istbetweenthesingerandaccompanist,

whoareactuallyrenderingaduet.

Thesingermustalwaysbeconsciousof theprincipalmelody,irre-

spectiveofwhetheritis inthevocalpart,or intheaccompaniment.

ometimestheprincipalmelodystartsinan interludeandiscontinuedin

thevocalpart.Underthesecircumstancesthe singermustenteratpre-

c i s e l yht e c o r r c et m o m n et.Hemustenterate

s o t h a t t hree i s n o b r e a

thesinger

actlyth e r i g h t " t i m e - s p o,t

inthecon t i n u iyt o f t h e m eol d y . S i m i l a r l,yw h e n

spartactsas acounter-melody,hemusthearandfeelthe

principalmelodywhichappearsintheaccompaniment,thusma

inga

perfect,consciousensemblebetweenthemelodyandthecounter-melody.

Theq

sa

uestionofintensityisalso veryimportant.S ometimes,forthe

eofemotionaleffect,theaccompanimentchangestheintensitydur-

ingthecourseof aninterlude.Underthesecircumstances,itis usually

essentialforthesingerto derivetheappropriateintensityfromtheaccom-

paniment.H eshouldpic

f c o u r s ,et h e r e aer e

uphiscueat preciselythecorrectnewintensity.

c e p toi n s t o t h i s r u l e : T h ree a r e c ae s s w h eer t h e

accompanimentplayssuddenlyfortissimoinaninterlude,andthesinger

hastota

239

euphis cuesoftly.Theinverseisalso found.Theseintensity

                                                                                                                                                                                                                                                                                                                                                                

  



    

effectsmustbeaccomplishedwithabsolutedefinition.Theyareparalleled

bytheperformanceoftwocompetentactorswhota

eachother,or,ifthey ma

etheirtonefrom

easuddenvariationofintensity,do sowitha

verydefinitepurpose.

re

uendyach angeintm e p o o r r h tyh m , w hichisann ouncd einthe

accompaniment,mustbee

thesingerisable topic

actlycarriedonbythe singer.O nlywhen

upthenewrhythmortempoinstantaneously

andwithperfectprecisioncana properensemblebemaintained.

tisinterestingto notethat,whenanartisthums asongtohimself,

healwayssingsthroughtheentire compositionincludingtheinterludes.

Theunmusicalsinger,ortheamateur,neverreallyfollowsthe interludes

andisevenaptto becomeimpatientandrestiesswhentheaccompanist

isplayinghissolo part.Thesingerwhodoesnothold theemotionand

feelallthevaryingmoodsduring therenditionoftheentirecomposition,

includingtheprelude,interludesandposdude,isnot atrueartist.

Tosumup,theperformanceofa songconstitutesaduetbetweenthe

singerandtheaccompanist,involvingmelody,counter-melody,intensity,

tempo,rhythmandemotionalconcept.

llmusicis baseduponthreephases:

1.Melodicprogressionoutline

2.R

hythmicformtime,meter,accentand rhythm

3.H

armonicstructure


Thesethreephasesareinterdependent,becausethemelodicprogres-

sionisregulatedbya rhythmicpatternwhichis,inturn, dependent

uponcertainchordprogressionsinthe harmonicstructure.

1.Melodicoutline:Thesmallestunitwhich canbeconceivedinmusic

isamotive-figure.Thisseedofan ideagrowsintothemotive,thewell-

roundedmotivebecomesthetheme,andthethemeis incorporatedinthe

melodyandthecounter-melody.Therearediversemeansofelaborating

themotive.A greatcomposergenerallyemploysingeniouslycontrasted

elaborationsofafewthemes.H

eavoidstheintroductionofa greatdeal

ofnewmaterial.

mongthevariousmeansofelaboratingthemotiveare:Transposition,

se

uence,intervale

pansion,intervalcontraction,rhythmicaugmenta-

tion,rhythmicdiminution,variationande

actrepetition.

Themelody,ormelodicprogression,liesalongcertainoutlines.I

t

maybe:

.S

calew isechrom a t i c o r d i tao n i c

B . A r p e gigo o r h a r pl-i

bro

ewhereitcon s i s t s o f bor

e n t r i asdo r

enchord s

.H orizn o t a l  w h ree i t l i e s o n a m o n otone

Thecounter-melodyoccursineitherthevocal partortheaccompani-

ment.S

ometimesthemelodyandthecounter-melodyareheardsimul-

taneously.

2.R

hythmicform:A

llformsoftime maybeconsideredaseither

dupleortriple.Theseforms,in turn,maybesimpleorcompound.Thus,

eachtimesigncalls foritsowncharacteristicaccents.Thereis always

aprincipalaccentand,sometimes,oneor twosecondaryaccents.The

principalaccent(thefirstbeat ofthemeasure)isalmostalwaysthe

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                                                                                                                                                                                                                                                                                                                                                                                                                                                                          



 

    

strongest,unlessanoratoricalaccent,whichshiftsthe stress,isused.

ertainothere

ceptionstothisrule occurinoperaticcompositions(this

willbediscussedlater).I

nthefinalanalysis,rhythmmustbe thought

ofinits broadersense,i.e.,theduration(length)ofthephrase.The

singermustbeconsciousof whetherthemusiciswrittenin monometer,

dimeter,trimeter,tetrameter,pentameter,he

ameter,heptameter,octa-

meter,etc.

3.H

armonicstructure:Thefollowingtableindicates,stepbystep,

                                                               

thederivationoftheharmonicstructureof thecomposition:

 

1. S C A L

      

a.Diatonic

 . Ma

o r

. M ni or

b.Chromatic

2. I NT

a.M a

R V A L

or

 

b.Minor

c.A

 

ugmn eted

 

d.Diminished

3 .T R I A

a.M a

 

D

or

 

b.Minor

c.A


ugmn eted

d.Diminished

4 C . H O R

 

 

D

 

a.S even ths

 

. S e c o n da r y

.Dim i nsi h d e

 

. Dm o n i a nt

b.Ninths,etc.

5 C . A D

a.S

NC E S

emi-cadence

b.F ullclose

c.A

uthn etic

d.Plagal

e.Deceptive

6 . PH R A

S E

A N D H P R A

S E

- L N GT



          

a.Monometer

b.Dimeter

 

 

c.Trimeter

d.Tetrameter

 

e.Pentameter

/.He

g.H

eptameter

h.O

ctameter,etc.

241

 

a m tee r

   

     

       

     



  



    

 

 

7. P R I

  

O D

a.Thesis

 

b.A ntith esis

8. S E C T

a.C

 

O N

ombinationofperiods

9 .S O

N GF O

 

R M

a.Binary

 

h.Ternary

 

nteachingtheprinciplesof musicianshipthemosteffectiveplanis

tostartw i t h t h e s c lae s . S t u d e n t s s h u o l d h ae vac

u i r e d a t hroo u g h k n o w l -

                                                                                             

edgeofallthe scalesbeforeproceedingtothefurtherstagesindicated.

(Thisq

uestionofscales,andall otherstepsnecessaryfortheunder-

standingofacomposition,maybefounddiscussedin detailin"

c i en c e foV o i c e .

The

)

r o m t h e sa c l e s a r e drei v e d t h e i n t e ravl s

fromth e i n t e ravl s , b y t a

ing

pairsofthirds,arederivedthe triadsandchordsinfundamentalposition

fromthechordprogressions,thecadencesmaybe ascertained

cadences,thephraselengthsarefound

periodsarederived

fromthe

fromthephraselengths,the

fromtheperiods,thesectionsare determined

and,

ultimately,fromthesections,theformofthe compositionasawhole

maybeconceived.

HowtoStudyan dI

n t re p e r taSong*


Thefirststepto beta

eninstudyingasong istolearnthe words,

whichshould,whenmemorized,berecitedwiththeappropriatecolor

anddramaticsignificance.Thedeclamatory,interrogativeande

toryps as a g s e, e t c,.s h o u l d b e c a r e flul y n o t d e.I

composerstheseeffectsares

nthewor

clama-

s o f t h e g r eta

illfullyportrayedbythemusic.Theim-

       

portantwordsorsyllablesareemphasizedinthe musicbymeansof

accentsgrammaticalororatorical.

tisimportantto note,inthisconnection,thatthe accentorstress

mustbemadeate

                                                                                                                                                                         

actlythecorrectmoment,andthisc anonlybebrought

aboutthroughthemediumofthevibrato.Thus,the notetobestressed

oraccentedisinitiatedby meansofanespeciallyvigorousvibrato.W

here

thevibratoisabsent,thesinger cannotaccentproperly,becauseifthere

isnomovementatall inthevoicehe canonlyswellgradually,andifa

tremoloispresent,itsamplitude,whichdoesnot varywithintensity,is

virtuallyconstant.

verybeatinthemusic shouldbebroughtout,orindicated,at pre-

ciselythemomentatwhichit falls.Theprimaryand,wheretheyoccur,

thesecondaryaccents,aredeliberatelystressed.

n r e a d ig nt h e w o r d s,thestu d e n t s hu ol d , a s s ttae d i n C h a p t e r 1 4 ,

generallyraisethepitchas theemotionrises,andviceversa.Practically

always,thisriseinpitch mustbeaccompaniedbyanaugmentationofthe

*

Writtenincollb a o r tai o n w iht A

242

lmaStanley,B. .



      



  



    

intensity.Thecomposergenerallyindicatesanincreasingintensity,oran

accentuationofthedramaticimport,bymeansofa risingmelodicline.

Thispointisof deeptechnicalaswellas interpretivesignificance,because

thesingerwhouseshis voiceimproperlydoesnotpossessaproperly

gradedscale.W heretheintensitymountandthe otherattributesofreal

singingareabsent,everyemotionalclima

isruined,andthemelodic

lineisdestroyed.

Thephraseistheunit inmusic.Unlessaspecial indicationoverone

noteismadebythe composer,theintensityofeverynotein thephrase

ispredeterminedbytheintensityofthe firsttonethesingerproduces.The

intensityrisesasthemelodicl ineofthemusicalfigurer ises,andfallsas

it-falls.I

fanyonetonefails toliein theproperintensitybalanceofthe

phrase,themelodicandrhythmicflowofthe musicisbro

enandthe

musicalandpoeticalimportofthe songisimpaired.

nstudyingacompositionthepupil shouldobservethetimesign,and

noteanychangeswhichmayappearin itduringtheprogressof the

song.H eshouldalsonotethe emotionalimportofsuchchanges.H

shouldmar

e

thebeatsandthegrammaticalaccentsthroughouttheentire

c o m psoi t i n o.(

e e T h e S c i e n c e o f V o i c e) .T h e g r a m m a t ia c l a c c etnc a n

bebroughtoutonlyby meansofanespeciallyvigorousvibrato.This

accentingbymeansofthevibratoallowsthe singertoindicatethee

spotonatid e n o t e a t w hci h t h e a c cn et f a l l.sF

ore


a m pel : I

act

fanac-

centedbeatinthemeasureis tiedtoanunaccentedbeatin theprevious

measure,thesingermustma

t o i n d ia ctethee

eanespeciallyvigorousvibratoin order

a c t t i m -es p too n t h e t i e a t w hci h t h e a c cn et f a l l.sA

caseofthisoccurs where,in4/4time,aq

n o t hre

uarternoteissungon the

firstbeat,ahalfnote issungonthe secondbeat,whichnoteisprolonged

throughthedurationofthethird beat,andaq

thefourthbeat.H

thereforere

uarternoteissungon

erethethirdbeat,which isasecondaryaccentand

uiresacertainamountof stress,isentirelylost,unless

thesingerimposesanespeciallyvigorousvibratoat thee

actmoment

atwhichthethird beatfalls.Thisisa formofsyncopation,which

rhythmicdevicecanonlybeinterpretedproperlythrougha correctcon-

trolofthevibrato.

Tempo,orthepaceatwhich asongshouldbesung, isofverygreat

importancefromboththemusicalandinterpretivestandpoints.The

tempoisindicatedbya directionovertheopeningmeasure,andsome-

timesbyametronomemar

therenditionofasong.

.C

hangesoftempoveryoftenoccurduring

uchchangesshouldbecarefullynotedby the

singer,whomustbeableto ma

eanysuddenchangeoftempoor rhythm

withabsoluteprecision.Manysingersfailto ma

e

echangesintempoat

a c t l y te hc o r r e tcm o m e n t . T h e y rae w o n,tf o r e

a m p l,et o s l o wyl i n c r e s ae

thespeedingoingfrom aslowtoa fastpassage,orviceversa.Unless

thenewtempoista

enupwithabsolutedefinitionat themomentthe

phrasestarts,itsmusicalimportis impaired.

Thesamesortofthing appliestothetimesign. Thesingermustbe

abletoinitiatea newrhythmicpatterninstantlyandwithprecision.H

e

mustdothisspontaneously,withtheentiremetric outlineofthecomposi-

tioncla e r l y d ei fn e d i n h i s mni d . T h e sni g e r w h ois"

dragg edalon g

accompanistortheconductoriswithoutmerit artistically.

Theamateurishperformerisineffectivewhensingingbothfastand

243

bythe

                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                    

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o f b r e tah d e s tor y s t h e l g e a t o effe c t ,

uic

ly.I

nrapid

edestry o t h e r h yht m

sthephrases.

Where aphraseisso longthatonlya singerwithaphenomenallywell-

usedvoicecanencompassitin onebreath,ane

mittd e , p r o ivd e d t h atitista

trabreathmaybeper-

enatacaesu ra.Them e t r ia c l f i g uer , l i

e

t h e w odr , m u s t n v ee r b e b r o e n .

Thesingingofrapidsongs andariasdemandsagoodmusicmind,

becausethementalitywhichcannotconceivethephrasewith great

v e l o ict y i s u n b a l e t o s u plpy t h e m e n t a l p a tet r n s w h ichsendth eq

uic

ly-

changingnerveimpulsestothemusclesactuatingthe vocalapparatus.

Noonecansing fasterthanhecanhear themelodymentally.

orhighspeedwor

tionisessential.F

,wherewordsareused,clean-cut,rapidarticula-

orthisreason,onlythe onewhousesthepharyngeal

cavitiesasthevocalresonators,andtherebyleavesthe mouthfreefor

consonantarticulation,isabletosing rapid,andatthesametime, intel-

ligiblephrasesata properintensitylevel.

nstudyingasongit isessentialforthe singertodetermineitspace

andallchangesoftempoindicated onthemusic.Thesechangesmustbe

memorizedandpractiseduntiltheyaremadewith absoluteprecision.

When practisingasongforthe purposeoflearningthemusic,thesinger


shouldtransposeitdownanoctave.Byso doinghewillavoidover-ta

ing

hisvoice.

While mostcompositionshaveacertaink

ane

eyindicatedinthe signature,

aminationofthemusicalliteraturerevealsthefact thatcomposers

modulatefreely.S uchmodulationmayoccuratanytime duringthe

progressofacomposition evenattheverybeginning.F

theabilitytosing atsightdemandsathoroughk

orthisreason

nowledgeofthescales.

nthesamew ay,itisimp o r t atnf o r t h e s i n g ertok nowallth e e n h a-r

monicscales,becausethecomposeroftenmodulatestok

eyswhichhave

eight,nineormoreflats orsharps,merelybytheintroductionof acci-

d e n tlas . I

n o t h e r wrod s , t h e sni g e r

s m u s i c lat r a i nni g s h o udl b e s o

thoroughthathecanrecognizethesek

eychangesinstantly.Theinter-

pretationofamusicalphrasedepends,in alargemeasure,uponthe

harmonywhichliesunderthevocalpart. Theartistryofasinger who

fullycomprehendstheharmonicstructureofac omposition,isfarmore

profoundthanthatoftheone whomerelyk

nowstheintervalsindicated

inthevocalpart.

Thus,thesingermustobservethesignatureand notewhetherthe

modein d i c aet d b e m a

o r o r m i n ro

h e m u s t aslo n o t e al lc h a n g s eo f k

ey

whichmayoccurduringtheprogress ofthecomposition,anddetermine

theemotionalreasonsforthema

ororminormodeand forallsuchmodu-

lations.

Thefactthatthemusical phraseistheunit insinginghasbeenempha-

sizedmanytimes.Thesingermust,then,k

nowwherethephraseends

hemustbeableto determinethelengthofeveryphrasethroughouta

composition.Theendofaphraseis determinedbyacadence,anditis,

therefore,importantforthesingertok

nowallthedifferentformsof

cadencesandtheirformulae.

Differenttypesofcadencesindicatevariousemotionaleffects.F

244

or

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e

                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                         

ample:S omecadencesholdtheemotionsuspendedorin abeyance

(i.e.,thesemicloseandthedeceptivecadence)

othersgiveasense

ofemotionalfinality(i.e.,theperfectauthenticcadence)

stillothers

giveasenseofawe orreligiousemotion(i.e.,theplagalcadence),and

soforth .(

A

e e T h e S c i e n c e o f V o i c e) .

verystri

ingdramaticeffectoftenfoundin operaticmusicisbrought

aboutb y a s t r o n g ac e n t o r b r a e

( a n a tat c

produ c e d w iht t h e t h r ota)

inaclosingcadence,at thepointwherethevoiceta

esthethirddegree

ofthescale(the middletoneofthetonictriad infundamentalposition)

andatthemomentwhentheaccompanistplaysthe dominantseventh

chord.H

erethetempoisalwaysdrawnout,and itisvital thatthesinger

s h o udl m a

e t h e s t r es ( a v i g oor u s v i bar t o , a b rae

orasob)ate

actly

thecorrectmomentandroundout thetempowithperfectsymmetry.

Thesingershould,whenstudyingasong,mar

allthecadences.H

e

shoulddeterminethenumberofmeasurescomprisingeachphrase,be-

causethelengthofthe phrasehasanimportantbearinguponits emotional

import.O neofthecharacteristicsof agreatcompositionliesin theuse

ofappropriatephraselengths,andofcontrastingphraselengths,in order

toconveyvaryingemotions.

Thesingershouldnoteall themusicalmotivesinboththe vocalpart

andtheaccompaniment.H eshouldalsofollowthedevicesemployedby

thecomposerfortheelaborationofthese motives,andnotetheeffectof


thiselaborationuponthemelodicoutline.

Thene

tstepis toobservethethematicoutlineandformof thecom-

p o s iito n a s a w h loe . T h i s sb u

ectisacomp le

w i s hset o p u r s u e i t frut h e r i s r eefr r e d t o Te hS

Mostsongsrisetoa clima

pretationofthisclima

o n e , ad nt h e r e a drew h o

c i e ne cofV

oice.

atsomepointintheir rendition.Theinter-

,withitsfull emotionalvalue,isprobablythe

g r e aet s t t e s t fot h e s i n gre

e s h o u l difn d t h e c lm i a

s m e t t l .e

a n d n oet h o w i t i s b r o u ghtabu o t m u s ia clly

anddramatically.H eshouldalsoobservethematerialwhich precedes

andfollowsit.Thesingerwho cannotclima

effectivelyhasnorightto

callhimselfanartist.

Thefirstre

uirementfortherenditionofan effectiveclima

isa

properintensitymountovertherangeof thevoiceasthescale isascended.

Thesecondre

uirementisaproperly-controlledvibrato.Thethirdre-

uirementistheabilityto holdahightonefor averyconsiderableperiod

w i t hu ot l o s i n g t h e q u a l i t y rof a d i n g te hi n t e nist y . I n f a c t , a m otss t r i

ing

effectisoftenmadewhenthehighest toneintheclimactic phraseis

ultimatelyswelled,whichcrescendomustbemadeonthe finalpulse,

afterithasbeenheld foralongtime,and thephraseisthenrounded

outfirmlyandwithpropercommand.A

fourthre

uirementistheability

tobroadenandnarrowthebeati nperfectrhythmicform.

Whentheinten sityran geoverth eentirep i t c h r a ne go f a s i n g e r

voiceisbalancedincorrectlyheis unabletoclima

fore

s

properly.C onsider,

a m pel , a w o m n awhouss et h e f a l stet o r e gsit e r o nyl : S h e m a y b e

abletosingrelativelyloud,high tones,buthervoicefadesin themiddle

ofherrange,withthe resultthattheapproachtothe clima

f o r e t h e ci lm a

goodq

,andthere-

i t s efl, i s s p ol ie d . E v e n i f t h e h i g h t o n eisofreasn oably

uality,theimpressionconveyedtotheaudiencewillprobablybe

thatshehassuddenlyemitteda loudscream.

245



 

    

n m o s t c ae s s , t h e c lm i a citc n o t e o f a s o n g h a s t o b e h e l.dI

fthisnote

isisolatedandheldwithoutdue considerationbeinggiventotherhythmic

floworpattern,theeffectis inartistic,cheapandunmusical.W henthe

clima

isrenderedproperly,therhythmofthe phraseisdrawnout,so

thatthetempoisgraduallybroadened untiltheclimacticnoteis reached

and isthennarrowedagain.Becausethedrawing-outoftheclimactic

phrasemustbeaccordingtoa definite,predeterminedpattern,thee

act

lengthoftimeduringwhichthe climacticnoteshouldbeheldis pre-

determined,becauseitisdependentuponthis"

uch" rhyth m i c -h s a p ig n

rhyth m,andisamar

ma

shaping

ofthephrase.

eshighdm e and s u p o n t h e sni g e r

ssenseof

o f t r u e atri s t r.y

ndeterminingtheproperemotionalinterpretationofasong,the first

factortobeconsideredis theschoolofmusicto whichthecomposition

belongs.TheC

lassicalPeriodshouldbeapproachedimpersonally,be-

causeanabstract,ob

ectiveemotioniscalledfor.F

ofcompositionsoftheR

amuchmoresub

ortheinterpretation

omanticPeriodofmusic,andtheO

peraticS

ectiveandpersonalfeelingisdemanded.H

nite,cn o c r eet , s u b

e c t ie v e m o toi n s h o u ldbeinvo

chool,

enceadefi-

ed.FortheModern

choolofmusictheemotionsto beconveyedaremoreatmosphericand

realisticimpersonal.

ertaineffectsmayindeedbeconveyedsimplybymeansof dynamic

modifications.Whileit isessential,however,forthesingerto beable


toencompassallthedynamiceffectscalled forbythecomposer,the

deeperandmoresubtlerenditionofa songrestsratherwiththe control

ofcolor.C

olor,insinging,isthe chiefmeansatthedisposalof theartist

forconveyingemotions,moodsandatmosphere.S uchcolormodifications

oftheq

ualityofthetonehavenothingto dowithintensity.A

nytone-

colorwhichthesingeris abletoproducecan,if histechnicis sufficiently

faradvanced,bemadeatanyintensity,withinhis intensityrange.The

second-rateperformerwillgenerallysingmerelysoftlywhensucha

d i r e ci to n a s " d o l c e

a p p eras o n t h e m uisc . T h i s i s n toa n i n t e n sityind ica-

tionit isratheroneof moodwhichmustbeconveyedthroughthecolor

ofthetone.A

sof ttone,whenproducedproperly,maybeso coloredas

toconveyanydesiredatmosphereoremotion.Themereact ofsinging

softlydoesnotnecessarilyconveytenderness.Thesamesortof fallacy

sometimesoccurswhenthemoodindicatedbythe musicdemandsa

martial,emphaticvirileeffect,etc.Theseeffectscanbe renderedeither

l o u dyl o r s o f t l.yH o w e e vr,inviw e o f t h e f a tct h a t s o v atsa m a

o r i t y fo

thesingersoftodayyearnto whisperandseldomattemptanybroad

effects,wegenerallyhearmoodswhichshouldbeconveyedbya tender

orsweetcolorsungmerelypianissimo.

nstudyingacomposition,thesingershould determinethegeneral

e m oito n t o b e c o n veyd e  w h e t h rei t b e s u b

ec t ie vorob

alsotheemotionsandcolorsappropriateto eachphrase.H

e c t iev a n d

emustpre-

determine,withdefinition,everytransitionofcolororemotionthroughout

theentirecomposition.Thesetransitionsmustbemadewithabsolute

precision,andstartwiththefirst noteofthephrase.W

herethecolor

changesareblurredintooneanother,the emotionalimportofthesong

ismarredorevenruined.These changesparalleltherhythmicchanges

mentionedabove.Theirpoignancyrestswiththeprecisionanddefinition

withwhichtheyareencompassed.

24

                                                                                                                       

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  



    

Thedirectionswhichindicatethearticulation(in themusicalsense)

aretheterms:Legato,staccato,portamento,leggieroandportarla voce,

andtheslur-mar

s.Thecontrastingoflegatosingingwith staccatoor

leggieroisofgreatimportancemusicallyas wellinterpretively.

A

slurmar

o n t h e m uisc i n d i ctae s t h a t te hc o m p s oe r d e srie s a r e l a -

tivelyprolongedtimeintervalbetweentwosuccessivenotes.I

thesing ermuste

nthiscase

e c u t e a vbi r a t o r u n ( d o w n rou p )  o n t h e d i a tn oi c

scale,iftheintervalis wide,andonthechromaticscaleif itisnarrow

afifthorless

actuallyslur.I

overtheinterval.Undernocircumstancesshouldhe

ngoingfromtoneto tonethesingermusteithermove

inthespaceof onevibrato,orbymeansofa seriesofvibratos,untilthe

secondtonethe tonetowhichtheslur isindicatedinthe musicis

reach e d . T hsiv i b r aot r u n i s a v i t a l p rat o f t h e s i n ger

s t e c h nci a l e

uip-

mentandproducesaverybeautifulpearlyeffect ascontrastedwiththe

wailingofthesingerwhoslurs withauniformrateofpitch change.

nsingin g s t a c c tao , e a h c t o n e i s a tat c

e d s e p raa t eyl a n d s t o p e d , s o

thatdefiniteintervalsofsilenceoccur betweenthetones.Thee

ofthestc ac a t o d p eend s u p o n t h e s ig ne r

s a b i l i t yot a t t a c

ecution

thetone

properly.

Leggierocallsfora bright,light,crispeffect,andlies betweenthe

staccatoandthelegato.I

tismoresimilar tothelegatothanis theporta-

mento,whichalsoliesbetweenlegatoandstaccato.


n o r d e r t o s ig na m e l o dci p a s s a g ewiththep roper"sweep,

thesing er

musthavereachedanadvancedtechnicalstage.Therearethree phases

ofmelody,andtheartisticrenditionof eachdepends,inalargemeasure,

foritseffect,uponthe properintensitymountofthevoiceas thescale

isascended.Melodiclineis eitherscalewise,horizontalorarpeggio.No

ascendingscalewisepassagecanbesungeffectivelyunlessthevoice

mountsinintensityinthe properbalanceasthepassageascends.

Thehorizontaloutlineisoftenemployedasa lullbeforeastorm

b e f roe a d r a m tai c c l i m a . I

tisalsofre

ust

u e n tyl u s e d i n r e ict a t ievs . T h e

singerwhosevoicefadesinthe middleofhisrangebecomespractically

inaudibleduringtherenditionofthesei mportantpassages.Thisapplies

inparticulartothe womansingerwhoselowerregisterhasneverbeen

developedandcarriedup.

Theharp-li

eorarpeggiooutlinema

esgreatdemandsonthesinger

technic.Thisoutlineoftencallsfor averywiderange,because,since

theintervalsbetweenthenotesarewide,relativelyfewnotescover an

e

tendedpitchrange.Thesingerwhoserangeis lessthanthreeoctaves

isaptto proveineffectiveintherenditionofsuch passages.

Togiveareallyartistic renditionofasong,thesinger mustk

nowand

understandthemusicalcontentofboththe vocalandinstrumentalparts.

A

m o t ievm a y b e a n n o u n cd ei n t h e a c c o m panim entandta

enupby

thevoice,orthevoice mayannouncethemotive,whichisansweredby

theaccompanimentandthenbothmayproceedtogether.A

gain,thevoice

mayactasan accompanimenttotheprincipalmotivewhichappears

inthepianoor orchestralpart.S

ometimesthevoicemaybeusedas an

obbligato,andunderthesecircumstances,themelodywhichappearsin

theaccompanimentmuststandoutabovethevoice.S

isstartedbythe voiceandta

mentandviceversa.S

247

ometimesatheme

enupandcompletedbythe accompani-

ometimesthevoiceissingingonemelodywhile

s

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  

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    

                                                                                                                                            

theaccompanimentisplayingacounter-melody.Theremaybeone

principalmelodyandseveralcounter-melodiesoccurringatoneandthe

sametime.A

talltimesthe principalmelodymustpredominate.

twill,then,beseen that,whenthesingerisperformingwith an

accompaniment,theperformanceshouldbeconsideredasasortof duet

orconcerto.True,thesingergenerallycarries theprincipalmelody,when

heshoulddefinitelypredominateovertheaccompaniment.H owever,

theaccompanimentshouldpredominateoverthesingerwhenitcarries



theprincipalmelody.

Thesingershouldnotonlybe abletohumthrougha song,including

theinterludes,butheshouldalso thoroughlyunderstandthethematic

patternoftheentirecomposition,andfolloweverymelodyandcounter-

melodyappearingintheaccompaniment.F

orfurtherinformationregard-

ingmelodyandcounter-melody,thereaderisreferredto TheS

cience

ofV oice.

A

largebo

couldbew rittn eonthesub

pretationasappliedtovocalliterature.H

boo

 

e c t o f m uisc a l i n tre-

                                                             

owever,thescopeofthis

confinesustodiscussionof thesalientpointsandthei ndica-

tionofthedifferencebetweenthemusicaland artisticinterpretation

ofaproperly-trainedartistandthe cheap,unmusicaltric

sof

interpretationalmostuniversallyemployedbypresent-daysingers.

TheMusicI

sofF

irstI

mportance


nstarting,itis necessarytounderstandthatitis theartistic

interpretationofthemusicthatis offirstimportance.Thesinger

shouldinterpretthemusicfromthe samestandpointsasdoesthe

violinistorthepianist,if heistobe consideredseriouslyasanartist.

     

Performersinfieldsofmusicother thansingingusenowords

toconveytheirmeaning,yettheyareable toimpresstheimport

                                                                                                                                                                                                                                               

ofthemusicuponthe audience.Theytreatthemusicas alanguage

i n i t s e l. fI

n f a c t , msui c h a s b e n e c a l l e d te h"

u n i vres a l l a n g u a g.e

Thesingermayhavebeenschooledin,and learnedtounderstand,

theidiomofhis ownand,evenperhaps,severalforeignlanguages,

butifhehas failedtostudyandunderstandtheidiom ofthelan-

guageofmusichecannotbe calledarealsinger.

Thisdoesnotmeanthatthe singershouldnot"

over.

putthewords

ctually,whenacompetentcomposerwritesforthevoice,

thewordsandmusicare insuchintimateharmonythata really

properinterpretationofthemusichelpsthe singerimmeasurably

inconveyingtheinnermeaningofthe words.Thewordsandmusic

shouldbeweddedsoperfectlythatthe rhythmicandmelodicstress

pointsofthemusiccorrespondwith thewordsorsyllableswhich

shouldbestressed,andtheemotionalimportof themusicconveys

theemotionaleffectsindicatedbythewords.Thus,an artisticren-

248





 

    

                                                                 

ditionofthemusicalimportof thecompositionservestobringout

theinnermeaningofthewords inthehighestpossibledegree.The

broadenedmusicallineandthesustainedtoneincrease andmag-

nifytheperformer

spotencyinthe interpretationoftheemotional

meaningofthewordsina mannerwhichcanonlybewroughtwhen

thelanguageofmusicis weddedtospeech.

o m pel t e U n d erstn adingofM u s i c laS

t r u c true V

ital

Themusicalcontentofeachcomposition,whichthe singerper-

form s,mustbew or

t h e m uisc i a n

e d o u t m tei c u l u o s l .yI

tmustbecla erfrom

sstandp oint.h T e s i n gres h o u l d n too n l y m ra

     

and

followtherhythmicstructureandphrasingof thecomposition,but

                                                                                                                                                                                                                                                                      

heshouldalsounderstanditsharmonicstructure andthematic

outline.H eshouldbeawareofeach musicalfigure,motive,phrase,

cadence,etc.,andmoldhisinterpretation coloreffects,emphasis,

anddynamicsuponthis understanding.

Themusicalfigureisthe indivisibleunitinmusic,j

w o r d i s t h eni d i vsii b l e u n i t i n s p e eh c.I

o r b r e aht e , i n t h e m i d d l e o f a wrod . I

s i n g ret o b r e a

ustasthe

t i s a l w a syw r o n g t o ber a

tise

,

uallyw r o n g f rot h e

, o r b r e aht e , i n t h e m iddleofamu s i c a l fgi u r e . I f t h i s

isdone,allsenseof themusicalimportofthecompositionis lost,and

heismerelysingingnonsense.Thereare nocircumstancesunder

whichamu s i c a l fgi u r e m y ab e b r o

en.Anyonewhosugestsn ay


suchbrea

,whateverhisapparentstandingmaybe,is merelyabad

musicianwhodoesnotunderstandthefundamentalprinciplesof

musicianship.Theplacesatwhichthesinger shouldbreatheare

generallyclearlyindicatedbythecomposer.W

henitisimpossible

forthesingerto coveranentiremusicalphrasein onebreath,he

maybreatheattheendof amusicalfigure,buthemust notbreathe

anywhereelse.

Melodiesarebasedonchords,andthose notesofthetunewhich

indicatethechordalstructureshouldbe stressed.A

llothernotes

constituteeitherpassingtonesorornamentsofmelody.

e c i t tai v e s R e

uireAccuracy

llmusicmustbe sungaccuratelyandaccordingtothe harmonic

andrhythmicscheme.Thisappliesnoless totherecitativesthan

totheariasin anopera.Manysingersareonlytoo apttodisregard

whatiswrittenonthe printedpagewhentheyaresingingthe

recitatives.Thisisespeciallytruewhenthey havetodoanystage

businesswhichisatall complicated.I

249

tisa factthatmanyrecita-



  

                                                                         



 

    

                                       

tivesareunaccompaniedorhaveonlya verythinaccompaniment.

Nevertheless,theyshouldbesungaccurately,j

ustasthecomposer

haswrittenthem,despitethefactthat theyareoftenusedto carryon

theactionoftheopera.

r e e P assa g e s

f c o u r s ,et h i s d o s en o t a p pyl t o "

f r e e p assa g e s

s o i n d ia ctedbyth ecomps oe r . F o r e

w h i c h rae a l w y as

a m pel , i n V e r d i

sI

I

c t 2 , t h e m es e n g ergivesM a n r i c o a l tet e r . H e s i n g s t h e t e

tof

thisletterandthe composerhaswrittennotesofdifferentvalues

whichcorrespondwiththewords.R

estsalsoareintroduced.H

ow-

ever,thereisnotime signandthemeasuresdonot scan.Thispas-

sageshould,therefore,besung"

free,

underwhichcircumstances

thestresspointsdependonlyupon thewords.I

nthis,asin allother

instances,thecomposerindicatesclearlywhenheintendsthe

recitativetobesungin formandwhenhewantsit tobesungad lib.

Therecitativeprecedingthispassageisi nformandshouldbe

sungwithabsoluteaccuracy.

tressan dMelod icLine

Where anoteinthe chordisrepeated,thesingermust understand

themusicalstructureandk

nowwhichoftheserepeatednotesshould

bebroughtout.Thethematic,ormelodic,outline isgenerallyindi-

catedbytherhythmicstructureof thecompositionsothatthe


 

Tor v aot r e ,

notes,whichshouldbestressedaccordingto theharmonicstruc-

ture,arefoundatthe rhythmicallystressedpoints.Nevertheless,

thesetwophasesarenotalwaysin completeconsonance,andthe

                                                                                                                                      

singermustunderstandthethematicandmelodic,as wellasthe

rhythmic,outlineofthecompositionifhe istointerpretit intelli-

   

gently.Thisthemecannotbemorefullydevelopedherebecause

itishighlycomplicatedand woulddemandagreatmanyillustra-

tionsthatwouldbeout ofplaceina wor

dealingprimarilywith

vocaltechnic.

M e l oidc L i n e I

sBasic

Manydynamiceffectsareessentialfortheproper interpretation

ofthemusic.Nevertheless,thebac

singer

boneofsingingliesin the

sabilitytoencompassaproperly-definedmelodicline.S

muchofsingingrestsupon thisabilitythattheother phasesareof

relativelysecondaryimportance.F urthermore,theyarenotdiffi-

culttoaccomplishwhenthevoice isunderpropercontrol.

250

o

                                                                                                                                      

                                                                

  



    

When thesingersingsa melodythetonesmustbeconnected

w i t hu ot a n y b r a e

,j

er

o r s l u r b ew t e e n te hm . E a c h t o n e m u s t b e

absolutelycenteredinpitchandloudnessand mustalsobeheld

foritse

actanden tiretim e s p o t . W h e n h e s t rat s t h e f i rtst o n e o f a

musicalphrase,attheloudnessindicatedby thecomposer,the

intensityofeverytoneinthe phrasehasbeenpredetermined,be-

causeitmustbe sungattherelativeloudnessdeterminedbyhis

evenly-rising,intensityscale.

n t e nist y

npractice,relativelyfewvariationsfromthenormalintensity

                                                                                    

aredemanded.Theintensityrisesconsiderablyasthepitch rises.

Thus,amountofan octaveshouldincreasetheintensityabout



thirtytimesandamountof twooctavesaboutathousandtimes.

Thecompetentcomposerisfullyawareofthis, evenifhedoes

notunderstanditinterms ofdecibels.Therefore,whenasoft

phraseisdesired,hegenerallywritesit inthelowerpart ofthe

singer

srange,wherethevoiceis relativelysoftatnormalintensity.

When hewantsarise inintensity,fordramaticeffects,etc.,he

writesarisingmelodicline whichliesathigher pitchandis,there-

fore,louderatnormalintensity.E

c o m psoe r s o f t h e m o d enr F

ceptforthewritingsof certain

r e n c h sh cool(ase

e m p lfii e d b y D-e

bussy)thereallyhightonesare nearlyalwaysusedforloud,dra-


maticeffects,althoughanoccasionalhigh,pianissimotoneis

sometimesindicatedforaveryspecial,pianissimoeffect.A

lso

dramatic,loudeffectsaresometimesmadeatthecadencein the

lowerpartoftherange.Theseeffects aremostoftenfoundinI

a n d F r e n c h o p e r a.sC o m p s oe r s o f t h e m o d enr F

talian

r e n c h sh c o o l v rey

oftenemployaninverted(orratherperverted)intensityscale,and

forthisreasonthis schoolofmusicshouldseldombeused with

pupilsbecauseitis apttoleadto throatysinging.

o f t E f f ec t s

Where asofteffectis indicatedonthemusicthe singershould

generallyreducetheamplitudeofthevibrato.This givesasense

ofq

uietness,orrepose,andofsoftness,withoutdepartingradically

fromthelineofthe intensityscale.S

foraq

oftpassagesareusuallyused

uietmoodwhichisbest interpretedbytonesinwhichthe

a m p ltiu d e o f t h e v i b r tao i s l e s s t h n a n o r m la. F o r l o u d , e

cited ,low

passagestheamplitudeofthevibratomaybe augmented.Thisgives

theeffectofdramaticfeelingandemotionale

251

citement.S uchvaria-

                                                                                                                                                                                                                                        

                                                                                           



 

    

                                     

tionsoftheamplitudeofthe vibrato,fromthenormalvibrato,are

apotentweaponininterpretation.Theymustbeused withs

finesseandartistry,becauseiftheyare e

ill,

aggerated,theeffectbe-

comescheapandinartistic.

C o l o r a nd t h e eT

t

   

fcourse,tointerpretthe wordseffectively,itisvitalfor the

singertobeable topronouncethemproperlyinanylanguagein

whichhesings.F

                                                                                                                               

urthermore,theymustbecleancutand clearly

understood.Themeaningofthewordsindicatesthecolor which

shouldbeemployedforthemusicalphrase.H

emustnotuse the

i n d i ivd u a l w ordsthm e s evl e s a s t h e vh ei c l e f roe

attem ptstoma

p r e siso n . I f h e

e a s p e c i lae f f e c t o n a s ig nl e w odr o r s y l l a b leheis

onlytoapttobrea

t h e m uisc a l l i n e ad nt h u s d e srto y i t . Tihs i s

oneofthemostprevalentfaultsof singersoftoday.Theyinterpret

thewordsratherthanthemusic andtherebyloseallsenseof the

melodiclineandmusicalcontentof thecomposition.

o w esla n d P h ayr n g a e l R e s o nn ac e A d

ustm ent

When thepupilhasestablishedcompletepharyngealresonance

ad

ustment,itisrelativelyeasyfor himtoformeveryvowelsound

ineverylanguagecorrectly.A

samatterof fact,mostofthevowel

sound sarecomm ontoalllan g u a gse. H o w eevr , i t t a

e s a c e r t ian

lengthoftimeforhim toattainsuchcompletecontrolover the


pharyngealcavitiesthatheisable toformallthe vowelswithout

mouthing.Duringtheperiodinwhichhe islearningtoattainthis

control,thecoachshouldnotinsist upone

    

actvowelsounds,orthe

studentwillperforcestartto mouththem,therebyclosinghis

throatandproducingthroatytones.W

henthepupilhasreached

                                                                                                                                                                                          

acertainstageoftechnical proficiency,allthevowelsareresonated

entirelybytheshapingofthe throat,throughthepositionofthe

baseofthetongue.A

nyvowelwhichcannotbepharyngeallyformed

isactuallysomewhatdistorted.C

ertainmouthvowelsarevery

prominentinaverage,incorrectspeech.Thesevowelsareincorrect

andtheymustbeeliminated.I

to"

252

m o uht

tisnevernecessaryfor thesinger

i n o r d e r t oof r m a n y o vwelinan ylangu age.





 

    

MouthVowels

The"

mouth

vowelsofthedictionsingerare veryclearlyunder-

stoodmoreclearly,in fact,thanthoseofmanyreal singerswhose

vowelsarepharyngeallyresonated.Nevertheless,scientificinvesti-

gationshowsthat"

mouth

vowelsarenotreallybetterdefined

acousticallythanthosewhichareproducedproperly.

DefiningPitchandV

owels

Thevowelisdeterminedbytheresonationof certainovertones

ofthefundamental.When thepitchisperfectlydefined,the proper

                                               

resonationofthevoweliseasy.Thesinging ofthemelodicline

   

dependsprimarilyuponthedefinitionofthepitch withitsasso-

ciated,definedspectrum.

Properarticulationofconsonantsisofvital importanceinthe

maintenanceofthemelodicline.C

onsonantsarearticulatedwith

thelips,thefrontof thetongueand,forgutturals,thebac

thetongue.A

of

llconsonantsmustbearticulatedveryrapidly.The

morerapidlytheyarearticulated,themoreclearly intelligibledo

theybecomeandthemoredefinitelycanthe wordsbeunderstood.

Where aconsonantcomesattheend ofasyllable,it mustbecon-

nected,rapidlyandneatly,withthesucceedingsyllable.I

fthis

succeedingsyllablestartswithaconsonant,thetwo consonants

mustberapidlyarticulatedtogetherandassociatedwiththe second


syllable.Thisprocedureeliminatesthebrea

offwhichwouldother-

wiseoccurbetweenthetwoconsonantsounds.E

ceptforthegut-

turalconsonants,rapidmovementsofthelipsand frontofthe

tongueneednotradicallychangethepositionof thebaseofthe

tongue,whichdoesnot,therefore,havetobeappreciablyrela

ed

betweenthetones.Thegutturalsmustbearticulatedso rapidly

andneatlythatthesenseof continuityofthetoneis notlost.The

singershouldhavethesensationofattac

ingthefirsttoneof the

musicalphraseandofgoingon singing,withoutstoppingthetone,

untilheta

brea

esthene

t h e l i n ,et h i s b r a e

t b r e a t.hW h i l e t h e c o n s n oantsdoc a t u al ly

s h o udl b e v i r t u a l l y i me pr c e p tibletoth e

singerandtothe listener.Unlessthissenseofcontinuityis main-

tainedthemelodiclineis destroyedandthesingeris notinter-

pretingthemusic.A

shesingsa musicalphrasehemustmoveon

therhythmicpulseandhe mustsensethemovementfromstressed

pointtostressedpoint.Thesestressedpoints areindicatedbythe

rhythmicaccentsandthemelodicoutline.I

notherwords,heshould

moveonarhythmicflowandgroup thetonestogether,according

tothethematicconformationofthecomposition.

253

                                                                                                                                                                                                                                                                                                                                                                              



 

    

                                                                                                                                                                    

c c e nsta n d B e ast

veryaccentandbeatmustbe indicated,withprecision,finesse

andartistry,atitsproper degreeofstress.Theprimaryaccentis

strongerthanthesecondary,buteverybeatmust beindicatedwith

absoluteprecision,notbybrea

ingtheline,but bymeansofa

slightstresswhichis primarilyvibratocontrolled.Thelistener

shouldhearwhenthesingerenters eachbarandwhereeverybeat

andaccentfalls.H

notes

emustalsobeable tohearthegroupingof the

whether

theyaregroupedinones,twos,threes,fours,etc.

Thephrasingofthecompositionmustbe neatlyanddefinitely

definedbythesinger.I

fatoneis heldthroughanaccent,a stressed

vibratowillindicateitspresenceat thisaccentpoint.Thesinger

s h o udl n e v e r msis a s t r e s s p oint.Tod osoisj

u s t a s b a d a s t oisn g

awrongnote,ifnot worse,becauseitdestroysthecontourofthe

musicandleavesitwithoutmeaning.

Diction

Noconsonantshouldeverbesustaineddeliberately.F

s i n g re

s p o i n t o f vei w ( o r t h e se pa

phonatedsungorsustained

con son a n t so u d ni s a f i

er

romthe

s ) , t h e vw o elsou ndcanbe

atadefined,variablepitch,whilethe

e d n ios .eT h e " m ,

n,

ng

a n d To c no s-



nantsareassociatedwithahum vowel.Thishumvowelmustalways


beasshortas possible.Undernocircumstancesshoulditbe sus-

tained.I

                                                                                                                                                                                 

fthesingerhumspart ofatone,withhis mouthshut,the

intensitylineisbro

enandhecannotmaintainthe melodicline,at

theproperintensitylevel,unlesshereduces ittoso lowapointthat

hissingingisas softashumming.Thiswouldobviouslybeabsurdfor

anyonewhocanreallysing.

The"

andTs,

spea

ham

actorlovestoroll hisvoice,humhis"

over-articulate,changethepitchslur

b y t h e w rod a n d n o t b y t h esentn ece.Th e"

m

s,

n

s,

ng

s

ononevoweland

ham

s i n g re a n d

unfortunatelyheisalmostuniversaltodaydoes thesamethingsto

anevenmorepronounceddegree.

olor,VibratoandEmotion

Thisinafew words,givesageneralpictureofmusical interpre-

tationinsinging.Thereis alsotheq

uestionofthemanylegitimate,

interpretivedeviceswhichmaybeused.Themostimportantof

theseiscolor.C

ofdar

olorinsingingdependsprimarilyuponthe degree

nessorwhitenesswhichisemployedto conveymood,and

uponvibratoregulation.Thus,awhite,brillianttonemayconvey

254

                                                                      

  



    

a n g e,rw h eht e r i t i s s u n g l u o d l y o r s fot l y . A d a r

t o n e wtih v e r y

littlevibratomayconveysorrow,ordespair,irrespectiveofintensity.

A

merechangeofloudnessdoesnotconveya changeofmood.O

course,certainmoodsareassociatedwithq

f

uietnessandothermoods

withloudness,butthecoloris alwaysfarmoreimportantinter-

pretivelythanthemereintensity.Thecomposerindicatesthein-

tensityrelationshipsofthedifferentphrases,etc.,bymeansof the

dynm a icmar

s o n t h e m u sci , a n d b y t h e tses i t uar a t w h i c h t h e

singerisperforming,and,despitewhathasj

ustbeensaid,thesinger

shouldnotfailto observethedynamicindications.

Tessitura

Thesingershouldattempttointerpretonly thosecompositions

whichlieproperlywithinthedynamiccontour ofhisvoice.A

n

                                                                                                              

attempttosingasong whichisatthe wrongtessitura,foranygiven

voice,distortsthedynamicoutline.A

sopranowhotriestosing



compositionswrittenforacontraltobecomesmerelyinsipid,and

acontraltotryingtosing asopranoariaeven ifshecanproduce

allthetones willbeineffectiveattheclima

es,becausetheintensity

mountisnotas steep,atthetopof herrange,asthatof asoprano,

andherperformancewill,therefore,lac

dramaticfervorand

properlygraded,climacticeffects.

Themostobvious,andprobablythemostimportant,interpretive


effectinsingingis thefull,sustained,climactichightone.W

henthe

musicallineismoreor lesshorizontalwhenthe melodycovers

anarrowrangethe singershouldnearlyalwayssinginstrict

tempo.When therangeofthemelodystarts tospreadintoan

obli

ueline,heshouldgenerallytend tobroadenthebeat.W

here

awidemountoccurs,thebeat maybeverymuchbroadened.

ntheapproachtoa sustainedhightone,thebeatis generally

spreadprogressively,untilitbecomesverywide,orslow,for the

held

t o n e i te slf.Th e"

hold

s h o udl , h o wvee r , awl a y s b e rg eu l aet d

byabeatand thebroadenedrhythmicflowmust,atalltimes,be felt,

orthemusicalphrasewill bedestroyed.E

held

venforaso-called"

thesingertoswellon thefinalpulseofthis tonebeforehecomes

down.

pand ingCadence

ngrandopera,particularly,thecadence,whichfollowsa held,

hightone,isusuallybroadenedanda dramaticeffectmadeatlow

pitch.Thiseffect,whichgivesa senseofsymmetry,orbalance,

255

freely

tonethebeatmustbe felt,anditis veryofteneffectivefor

                                                                                                                                                                                                                                                                                

                                 



 

    

                                                                                                                                                      

withthehightone,is important.A fterholdingthehightone,the

singergenerallymovesinstricttime,or withastringendoeffect,

totheheldtone inthecadence.Despitethesetwoe

pansions,the

beatmustalwaysbefelt.Thiseffect ofholdingupandma

inga

dramaticeffectonthecadence,especiallyafterholdinga hightone,

wasalmostuniversallyemployedbythegreatsingersof thepast.

Unfortunately,manyofthesingersoftodayareunableto achieve

thiseffect.Themenareso throatythattheirlowtonesare toowea

tobeeffective.Thosewomen,whohavenolowerregister,are

unabletoma

uite

eanyrealeffectwhateveratlow pitchtheselow,

effectnotesgenerallylieinthe neighborhoodofF

(onthebottom

spaceofthetrebleclef) wherethefalsetto,evenwhenitis thic

ened

a n d f o re c d , i s v eyr s o f t a n d " d e a d .

M u s ia clF

igurs ea n d C o l o r C

omin gbac

bej

ontrs at s

t o t h e q u e s t i o n o f c ool r : E a c h m u s i c a l f i g u r e m uts

udiciouslyandartisticallycoloredandcontrastedwiththe other

musicalfigures,despitethefactthatthe generalcoloroverthe

phraseis,moreorless, uniform.Notwosimilarmusicalfigures

shouldbesungwithe

    

actlythesamecolor,anymorethan twodis-

similaronesshould.Thedetailedwor

ingoutofthe coloreffects,

                                                                                                                                                                  

fromanunderstandingofthemusicalstructure ofthecomposition,

isoffirst importanceintheartisticinterpretationofthe music.I


e n t al is a g r e a t d a elofwor

coloreffect,everye

s h o udl b e w o r

t

a n d s t uydo n t h e p a r t o f te ha r t i s.tE

very

pansionorcontractionoftherhythm,etc.,

e d o u t , par c t ie sdand" set.

anenormousamountofwor

T h e g r etaa r t i s t d e os

alongtheselines,andwhenhe

actuallyperformshehaseverydetailof interpretationcompletely

set,

withth eresultth atherepa etshim self,w i t h r e mra

a b l e p r-e

cision,everytimehesingsa song.

ManySingersLac

M u s i ica n s h ip

Thegreatsingersofthe pastwereseldomgoodmusicians.H

ow-

ever,theydidhavefineears formusicand,evenifthey didnot

understandmusic,fromthemusician

sstandpoint,theyheardit

andunconsciouslysensedagreatdealaboutthe musicalstructure

ofthecomposition.W e,therefore,havethise

traordinarystateof

affairs.Thegreatsingersofthe pastdid,frommanypointsofview,

singartisticallyandmusically.Theprominentsingersof today,

whoprobablyk

nowagreatdealmoreabout music,fromatheoreti-

calstandpoint,thanthegreatsingers ofthepast,completelyfail

25

   

                                                                                                   



 

    

toapplytheirmusicalk

music.F

nowledgetotheinterpretationofvocal

urthermore,theyhavevoiceswhicharesothroatyand so

badlyproducedthattheyaretechnicallyunableto doso.Theresult

ofthisis thatmostperformersoftodaysingwithoutanyreal sense

ofmusicalvaluesatall. Thisapparentparado

isdueprimarily

notonlytothe throatytechnic,whicheliminatesalllegitimate

controloverthevoice,butalso tothefactthat thesesingersthin

intermsofvowelandq

uality(thethroatyq

minedb y t h e t e c hinc a l t r i c

reson ance,

sof"

h e a d vioc e ,

ualitywhichisdeter-


c o v eer d t o n s e,

ue,

"nasal

etc.)in s t e a d fop i t c h

definition.Thisviewpointhasvirtuallyeliminatedtheirnatural

ear,sothattheydo nothear,intheir minds,eitherclearly-defined

pitchpicturesor,still moreemphatically,themelodiclineofthe

music.

ThroatyS

ingerC

annotC olor

Thebadly-trainedsingercannotcolor.I

nplaceofcolor hecan

onlyuseloudandsoft effects.E venthenhedoesnot possessany

real,legitimatecontroloverintensity.H

egenerallyhasaloud

                                                                                                                                                

   

voiceandamezzavoceand nothinginbetween.

Thismezzavoceissung inabsoluteconstriction,generallyina

mi

edregister.Thishasgoneso farthat,whenonelistensto this

mezza-voceinterpretationofasong,itmaybe hardtotellwhether


thesingerisa manorawoman abass,

orsoprano.I

baritone,tenor,contralto

tisalwaysthe samethroaty,colorless,mi

ed-register

sound,irrespectiveofpitch.

A

Man sV

o ie cS

hou l d N toS

oun dLi

e a W o m an

s

llvoices,singingatthe samepitch,withthesamevoweland the

samevibrato,wouldsoundthesameifthe technicwereperfect.

owever,amansingsanoctavelowerthan awomanand,most

emphatically,heshouldnotsoundli

eawoman.Thereisnothing

morerevoltingthantoheara performanceattheMetropolitanat

whichami

in"

Mann o

e d -af l s etto t e n ros i n g s a C a r u s o r o l e ( s u chasDesGriu e

)andsoun dsj

TremoloC annotBeUsedforI

A

ustli

e t h e s o par n o ( M n aon).

nterpretation

throatysingerhasatremolo notavibrato.Thetremolo,which

                                                                                                        

isautomatic,isnotunder consciouscontrolasisthe vibrato.There-

        

fore,itcanneitherbe usedforinterpretiveeffects,nortoindicate

accents,stresspoints,etc.

257

                                                                                  

                                             

  



    

   Tric

sA

reI

                                                                                                                                                                                                                                

nartistic

We have,then,agroupofsingerswho cannotcolor,haveno

vibrato,cannotsingagood,free,loudtone, whofadeoutatthe

bottomofthevoiceandare unabletocenterthepitch orconnect

twoton e s t o g teh e r w iht o u t s lrur i n g o r j

er

i n g . S u c h s i n g e r s aer

utterlyunable,really,tointerpretthemusicalcontent ofacom-

position.Therefore,theymustuseaseriesof silly,inartistictric

s,

ordevices,togivethe impressionofinterpretingthecompositions

theyaresinging.Thesedevicesaremany,but theyfallundercertain

generalheadings.Theslurisused deliberatelytoe

pressemotion

andthemoreemotiontheydesireto indicatethemorehorribly

theyslu r.Thisissim ilartothe"ham

a c t o r wo hr o l l s h i s v ioc e . W h e n

theywanttobecomeverydramaticsuddenlyonone tone,they

brea

o f f , sul r u p i n t o t hsit o n e a n d t h enslurdw on

t o g i v e a v eyr d r a mtai c e f f c e t i n d ed e. R a t h re, i t i s j

n o i s .eW h e n t h e y w a n ttoe

pressatn e d e r , roq

thisissuposed

ustanasty

uiet,m ood,th ey

reducetheintensitytoa meremurmur,whichcanhardlybeheard

acrossthefootlightsandwhichis completelydrownedwhenthe

orchs et r a p l y a s . M aynm e n m a

e s u c h e fef c t s , w ithami

technic,sothattheythen soundmoreli

e d -af l s etto

ewomenthanmen.This

conveysnothingbutineptitude.

u b s ttiu t i n oofS

p e e c h froS

ingin g


When someofthesesingerswantto becomeverydramaticindeed

theyactuallybrea

thisrepeatedly.I

theirspea

intospeech.Mostofthebaritonesor bassesdo

nmanyofthecases theirtechnicisso throatythat

ingvoicesareactuallylouderthan theirsingingvoices,

sothatthisdevicedoes givearathergrotes

dramaticeffect.I

uesemblanceofa

tisobviousthat thesingingvoice,whenitis pro-

ducedproperly,isverymuchlouderand moredramaticthanthe

spea

    

ingvoice,becauseitis atmuchhigherpitchand is,therefore,

atafarhigher intensitylevelintheintensityscale. When the

spea

                                                                                                                             

ingvoiceislouderthan thesingingvoice,thetechnicis

throatyandthehighertonesare completelyshutoff.

MereDc e r e s cn ed o o f H e l d T o n e s C o n v e y s N o E m o t i o n

notherveryfavorite,andconstantlyused,tric

istodecrescendo

nearlyeveryheldtone.W hatthisissupposedto conveyisamys-

tery.Technically,theconstrictionincreasesandthevoiceshuts

off.Perhapsitissupposedto conveytendernessorsweetness.Nearly

allthetenorsand sopranosemploythistric

258

repeated ly.

                                                            

  



    

     

h i f tni g o f C l i m a c t i c P oni t D e s tor y s E f f e c t

A

suppos edlydramaticeffectinconstantuse amongthesingers

oftodayconsistsofshiftingthe climacticpointina dramaticphrase

fromtheheld,hightoneto thesucceedingtoneortonesin the

descendingscalewise,orarpeggio,passage.Thus,thehightone

isheld,butthe descendingtonesareswelledandactuallysung

louderthanthehigh,climactictone. Thisshiftingoftheclimactic

pointinthemusicalfigure destroysitscontourandis, therefore,

unmusicalandinartistic.I

e

tis,indeed,aneffectwhich isnottobe

plainedfromthemusicalorinterpretivestandpoints.

When thevoiceisused properly,thehighesttoneinthe figure

istheloudest.Theclimactic effectisnaturallymadeonthis tone,

whichis,insuch cases,actuallysustainedbythecomposerforthis

reason.Why,then, isthisobviouslyunmusicalandmeaningless

effc e t i n s u c h c o ntsa n t u s e td oa y

Theres ao n i s n o t f rat o s e e

.The

singersoftodayshutofftheir hightones,and,therefore,itispos-

sibleforthemtoma

eonlyarelativelyfortissimoeffecton amiddle

tone.Theyare,then,forcedtoshift theclimactictonedowntoa

p i t c h a t wihc h t h e y c n abecom emoreorls es "

e f f e tci v .e

Thisdv ei c e

ofshiftingtheclimactictone ismoreoftenemployedbymenthan

bywomen.Thereasonforthisis apparentwhenwerememberthat

theyareg e n e rlal y t a u g httosing"open


a b o u t E b a n d t h e n t o " c o v e,r

tones

(shou ty)ton esupto

or"

usehed a t o n e.s

S

u c h " c o v eer d

redeliberatelythroatyonesandadrop a inintensity,because

oftheincreasein throatiness,isunavoidable.

Therefore,whenabadlytrainedbaritonehastoma

clima

eadramatic

o n , s a ,ya h i g h G , h e i s t e h c n i c lal y u n albe t o m a

ence,h edodgs et h e i s s u e b yh s i f tni g t h e c l i m a

e t h e g r a d.e

andma

fortissimoeffectonthewaydown.Thisdeviceis mostin

ingthe

uriousif

thevoicehasbeentrainedproperlyand is,forthisreason,graded

correctlyintheintensityscale.The highesttoneinthephrase is

naturallytheloudestandtheintensitydrops withthepitchin the

descendingpassage.I

fasingerendeavorstoinvert theintensityline

ofhisvoice,hewill inevitablypushandforceit.Thiswill hurthis

voiceandmayevencausehimto tieupaltogether.O

reallythroatysingerdoesnotactuallytie up

morethroaty.

259

fcourse,the

hemerelybecomes

                                                                                                                                                                                                                                                                                                                                                                                                                        





 

    

         u m mni g C o n s o n a n t s n adS

l u r r ig nI

s"

a m mni g

tisessentialfor anyprofessionalsingertogivetheimpression

o f a m u s ia clline.Hecannotbra e

o f f b ew t eenth e t o n e,sb e c a u se

thiswouldeliminateallpretenseofsinging. Thethroatysinger

whocannotcenterpitchandmovefrom tonetotonelegitimately

accomplishesthisend(theimpressionofa musicalline)byde-

liberatelyslurringthetonestogetherandby sustainingandhum-

minghisconsonants.H

econnectsthetoneseitherwith slursor

hums.N o t u n e i s r e lal y s u n g n admostofth etimeheisma

ing

noiss eb e t w e n t h e t o n e s . W h e n h e h a s b en et a u g h t t o " s i n g i n t h e

mas

ue,

"

p l a c e hsiv o i c e i n t h ehead

or"

u s e n a slar e s o n n ace,

ustlovestohumhis consonants,becausethisgiveshimthefeeling

o f t h e t e cn hi c a l d v ei c e  j

awloc

a n d t h raot i n s es  f o r w h i c h h eis

s t r i ivn g . T hree f oer , h e a l w ayshum sthe"

sonants,ma

m,

"

n

and" 1

con-

ingthehumassociatedwiththemas longashepossibly

can.

Thishastwoeffects:I

word sande

nthefirstplace, heismis-pronouncingthe

a g g rea t i n g te hw o r s t f u altsofth e"

e a r l y V i c t o r i a n rea . I

ham

a c t o r fot h e

n t h e s e c od np l a c e , h esir e d u c ig nt h e l o u de ns s

ofhisvoiceto thelevelofhummingevenwhenhedoes openhis

m o uht . I

fhedidnotdoth i s , t h e i net n s iyt w o u l d k e e p f a d i n gin

andout.I

tistrue thattheslurringeffectswhichhe employsdo


fadehisvoicein andoutallthetime, butthiseffectoccursgradually

andnotsuddenly.I

fheweretohum andthenopenhismouthand

singafulltone, thesuddenchangeinintensitywouldobviouslybe

ridicu l o u s . F o r t h i s r e a sn o, h e h u m s n a d h o l d s bca

,againan dagain ,

sothattheentire singinglineisreducedto thelevelofintensity

establishedbytheloudnessofthehum.

fcourse,thiscan bedone

onlyinconstrictionandhe is,therefore,practisingthroatiness

lurringDestroysMusic

romthemusicalstandpointslurringis altogetherdestructive.

A

singerwhoslurshabituallyneverstarts,or meets,atoneatany

giveninstant.Therefore,heisq

uiteunabletoindicatethe timespot

ofthetones,thebeatsor eventheaccentpoints.H

eeliminatesthe

rhythmicstructureofthecompositionheis singing.Thisdestroys

a l l s e ne s o f p h r aisn g

thestru c t u r laf r a m e w or

o f t h e m uisc i s l o s t .

Therhythmicstructureofthemusic isoffirst importanceandthe

singerwhodisregardsitis notsingingmusicat all.Thevitalfactors

intheproperinterpretationofa songaretherhythmicstructure

ofthecomposition,thetimespotof thenotes,thenotesthemselves

andthewords.A

2

he

                                                                                                                                                                                                                                                                                                                                     

llthesefactorsare ofprimeimportance.

  

0

                                                                                                                              

  



    

f t h e s i n grei s u n m u sci a l , o r i f h e l c a

sthedram a t i c a bl i t y

necessarytoputoverthewords effectively,hisperformanceisof

littleartisticorentertainmentvalue.H

stances,asecond-rateartistatbest.A

eis,undersuch circum-

greatoperasingerisnot only

afinemusicianbutalso areallygoodactor.Unfortunately,mostof

thesing ersoftod aythin

onlyofth ewordsn a d t h e n oet s . E v e n

whenth e t i m e i s c o rer c t , i n t h e s e n s e t htat h e y d o n

t t u r n a q u a r t re-

noteintoahalf-noteor aneighth-note,theconstantslurringinto,

andoutof,thetones actuallycutsdownthetimespot forwhich

theyareheldand,therefore,theyneverreallysing intime.Many

singersvirtuallyloseallsenseof rhythmicstructureandmusical

phrasing.

Thereisonemorepoint toremember:I

fthefirst,accentedtone

ofaphraseis slurred,therhythmicframewor

isdestroye d.Thus,

ifthephrasestartson thefirstbeat,andthis toneisslurred,the

secondaryaccentonthethirdbeat (in4/4time)cannotbe made

either.Therhythmicframewor

mustbeintact,orinevitablyit falls

apartaltogether.Thesingereitherindicatese

actlywhatiswritten

ontheprintedpage,includingthe rhythmicstructureofthemusic,

thegroupingofthenotes,wherethe barlinesfall,etc.,or hedoes

notdoso

i f h e d o e s ntoh e i s n o t s i n gni g t h e m uisc .

tthestartofh i s c a r e re, C a r u s o d idma

e c e r t ian c h e a p ef fe c t.s


Themostobviousofthesewasabuseof thesobasa dramaticdevice.

Later,ashematuredandbecamethe greatartistthathe ultimately

turnedouttobe,he naturallyeliminatedthisartisticwea

ness.

Today,operaticsingershavere-introducedit.Theirvoicesareso

pushd eandthra o t y t h tat h e y a r e vrey o f t e nof r c e d t o t a e e

breathsandtobrea

s u s t ian , t h y ei n t r o d u c e a s o b n eral y e v eyr t i m e t hyet a

breath.Theymaythin

tra

theirphrases.Tocoverupthis inabilityto

eane

tra

thatthisisdramatic,emotionalandeffective.

Manyanaudiencewilldisagree.I

tison almostthesameartistic

levelastheperformanceofthe so-calledtorchsingerwhowails

popularmusic.S

e c i t laS

ingerswhoblubberarehardlyartists.

i n g esr

ntherecitalfield,manysingers gothroughpracticallyanentire

programinathroatymurmur.Thereis nophrasing,nomusical

understanding,nolegitimatecoloringandeverytonesungis

throaty.I

fsuchperformersdotry tosingloudly,aftersingingentire

group s o f s o n g s i n a t hor a t y s fot "

m e z z ao vce,

t h e s o ud ns t h e y

emitaredefinitelysounpleasantthattheycan onlybeclassedas

shoutsorscreams.F

2

1

ew,ifany,ofsuch singersreally"

coverthe

                                                                                                                                                                                                                                                                                                                                                                                                 

                                                                                   

    

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    

groun d

andthy et h i n

                                                                                                                                                                            

n o t hni g o f b r e a i n g t h e m u sicalph r a s e.s

Nevertheless,theyareoftenencouragedbythecriticswho praise

thequalityoftheir"mezzavoce

a n d , i n p rat i c u l a r , h aevh i g h w odr s

o f p V a i s e f o r t h e i r d i tci o n .

Thewor

sofsuchcomposersas

chubert,S

chumann,Brahms,

u g o W o l f , S t r a uss, s h o udl b e s u n g wtih a s p e r fcet a m e l o d icline,

andthemusicalimportof thecompositionshouldbeasmeticulously

defined,asitwouldbeif itwereacompositionforthe pianoorthe

violin,whichwasbeingplayedbya greatpianistorviolinist.F

ur-

thermore,mostofthesingingshouldbe performedatthenormal

intensitylevel,inthenormalintensityscale forthegivenvoice,and

verysoftandveryloudeffectsshould bemadeasspecialinterpretive

devices,eachoftheseeffectsbeingin itselfatourde forceofa

climacticnature.Greatmusicwasnot writtentobesungintimately.

Thesecomposerswroteforconcertartistsandnot forparlorsingers.

TraditionandMusicalDistortion

Manyofthesillydevicesused todayhavebeenemployedby

singersofstandingforseveralyears,withthe resultthattheyhave

beenhn adeddw o n a n d t ag uh t b y c o c a h e s a s " t r a d i t i o nla.

n y t hni g

whichimpairsordestroysthemusical contentofthecomposition

isincorrect,inartisticandcannot bee

tion.O

e

cusedonthebasisof tradi-

   

neparticularphaseofthis useoftheideaof tradition,asan


c u s e f rod i s t otri n g t h e msui c , l i s ei n t h e b r e a

i n g o f p har s e s 

oftenwiththeintroductionofa sobbecausethe singers

s o t h r otay a n d p uh s e d t h a t te hy a r e f ocr e d t o t a

ee

                                                                                                                                                                                                                                                                                       

voicesare

t r a b r etah s .

Thebreathingshouldbedeterminedbythephrasing andmusical

figuresandnotbytradition.

oacheswhoteachbyearmerelyplay thetuneoverandover

againtoshowtheirpupils howitgoes.Thismethodofprocedure

iselementary,childish,inartistic,unintelligentandinsecure.They

claimthattheinterpretiveeffectswhichthey indicatearesecrets

oftraditionsecrets whichthey,andtheyalone,possess.

When teachingconsistsmerelyofplayingatune overandover

toshowhowitgoes thepupilisforced tostudyeverynewcomposi-

tionwithhiscoach andneverdevelopstheabilitytowor

interpretationofasongforhimself.H

t r a dtii o n

outthe

emustalwayslearnthe"

secret

i n o r d ret o p e r f om r it.

Thissortofthing isj

ustnonsense.A

ctually,thecomposerhas

indicatedontheprintedpagevirtuallyeverythinghe wantsthe

singertodo.I

feverythingthecomposerhaswrittenis understood

completelyandif,atthesametime, thesingerhasasincere feeling

2

2



    



    

                                                                                                                                                                                                                     

forthedramaticimportofthe words,andoftherolehe ischarac-

t e r i zni g  i f h e i s s i n g ig ni n o p e r a  h e s h u o l d b e a bel t o w o r

out

areallyfineinterpretationforhimself,providedthathe hasbeen

properlytrainedmusically.Thecoachshouldteachmusicianship

andultimatelyenablethepupilto wor

outtheinterpretationof

thecompositionsheisstudyingfor himself.R ealtraditionrests

primarilyuponaproperunderstandingofthe music.Thepupil

ofthetraditioncoachis dependentuponhimforlife.

nlytoooftenthesetraditioncoachesdon

treallyunderstand

themusicthemselves,andwhentheinterpretationhasbeenhanded

downtothembyear,they generallyma

eflagrantmusicalerrors.

u c h e r r ros i n c l u d e t h e b r e a i n g o f m uisc a l p har s e s a n devenfig ures,

i n c orre c t t e m p i a n d m itsa

esintime.

ertainlytherearehonest,competentcoacheswhoreallywor

outallthemusical andinterpretiveproblemsinvolvedwiththeir

pupils.S

uchcoachesteachtheirpupilsto applyallthemusical

nowledgetheypossesstotheinterpretationoftheirsongs and

giveabasicmusicaltraining tothosewhoarelac

nowledge.Theycarefullywor

inginmusical

outandanalyzeeverydetailof

musicalstructureofeachcompositionwhichtheyteach.Unfor-

tunately,suchcoachesarefewandfar between.

TraditionalA

spectsofS

inging


Therearetwophasesofinterpretationin whichtraditionplays

a n i m p rot a n t p rat . T h e fris t i s i n k n o wni g t h e " c u t s

w h ih careused

attheMetropolitanandatother leadingoperahouses.Thesecond

isintheuseofcd a e n zsai n t h e o l d s c h o l o f I

r t i s tci I

nterp r e t aito n R e

Theforegoingshouldma

talin a O p e r .a

u i r e s Por p e r T c eh n i c

eitclear thatitispossible forthe

singertointerpretamelodyonly whenhisvoiceisproduced

   

properly.O nlythewell-producedvoiceisable tosustainamelodic

lineinwhichthe pitchofeverytoneis centeredanddefinitely

                                              

defined,andthedurationofwhichis nevercurtailedbyslurs,or

changesofintensityaccompaniedbyslurs.Thesingercan really

interpretonlywhentheentiremelodicand rhythmicpattern,and

allthelegitimateinterpretivedevices,havebeencompletely"

set.

When thesingerwhosevoicehasbeentrained properlystartsto

singamusicalphrase,it isimperativeforhimto establishapre-

conceived,se

uencememorypicture,notonlyofthe melodicand

    

colorline,etc.,butalso ofthetensionsandchangesof tension

demandedforthesingingofthe phrase.

2

                                                                                                                                           

3





 

    

                                                                                                                                               

Theentireoperationofsinginga musicalphrasemustbementally

plannedahead,orpre-conceived.I

singer

fthereis anyuncertaintyinthe

smind,hewillalmostinevitablystart toslurandconstrict.

Undersuchcircumstancesheis onlytooapttobecome"

tiedup

vocally.Thisisespeciallytruewhenhis technicisveryadvanced

a n d h i s v ioc e "

wideop en.

Theres ao n f o r t hsii s b e c a uese a c h t o n e

demandsitsownmuscularco-ordinationandthisco-ordination

dependsuponpitch,loudnessandcolor(spectrum).True,these

co-ordinationsarerefle

andtheyoccuronlybecauseof clearly

defined,memorypicturesinthesinger

smind.Nevertheless,ifthese

memorypicturesareevenslightlyblurred,theproper co-ordinations

cannotoccurandthesinger willinevitablystarttoforcehis voice

and" push,

ThroatyS

w i t h t h e rseu l t t h tah e w i l l u l tm i a t ley "

ingingR

e

tieup

v o c lal y .

uiresNoTalent

Thesechangesintheco-ordinationsofthe musclesofthelaryn

andtongueforchangesofpitch, loudness,andcolor,donotoccur

withthethroatysingeras hemovesoverthemelodicline.H

t h e r feo r ,ea b l e t o s l u r s am u c h a s h e l i

eis,

eswith o u t " t y i n g u.p

    

twillbeclear, then,thatthethroatysingeris physicallyabletogo

throughacompositionwithoutanyseriouswor

tion,andwithvirtuallynoreal technicals

onitsinterpreta-

i l l a n d a r tsit r y . F r o m


anotherangle,too,itismore e

                                                                                                                                                                                                                                        

ill,whilethewell-trained

voicem ustbehan d l e d w ihtc o n s u m mates

actingforthewell-trainedsinger

toperformthanforthe throatyone,becausetheformermustat

alltimesmaintainthe"

tial,ifheis tok

l a t t rec a n g o "

drive

andemotionalurgewhichareessen-

eephisthroatopenandhis voicefree,whilethe

dead

a n d s t il lc o n t i n uetosing . T h i s e n reg y m utsb e

appliedatthebeginningofa phrase,maintainedatalltimes,and

gradedaccordingtothedemandsofthe phrase.E achtimethesinger

s t a rsta p h r a s e h e msut r e l a

, c r e a t e te he m o toi n r e

himselfintoastateof optimumtonus,breathe,attac

uiredan dbring

thefirsttone

properly(ontheinspiratorygesture)andencompassthephrase on

apredeterminedpatternforthechangesoftension demandedby

thee

i g e n ice s o f t h e p h rase.

u s t ani i n g o f H i g h T o n e s S h o u l d B e N o S t r u g g l e

W h e n t h e w e l lt-r a i n e d s i n greh a s t o m a

e a d r a m aitc e f f c et o n a

hightone,itis truethattheenergymustbe increased,butthis

increasedoesnotconstituteastruggle

ontheotherhand,itconveys

afeelingoffreedomanddramaticintensity.H

2

e,therefore,always

4

                                                       



 

    

                                                                                                                                                                                                                                                                         

singswithcomfortandfreedomandthe hightones,aswellas the

lowones,canbeproducedwithapparentease.I

d o e s n toh a v e t o s tur g g l e i n odr e r t o m a

notherwords,he

ehishightn oes,bu the

cannever,atanytime,go dead.

nthisconnectionit isimportantforthereaderto rememberthat

thesingermustattaina highdegreeofs

illincontrollingthe mus-

cularsystemusedinphonation thus,everytimeheta

hemustrela

esabreath

allthetensiononall themusclesusedinphonation

andre-establishthepropertensionsatthe momentwhenheattac

s

t h e f i rtst o n e o f t h e n e t p h r a s e rof i g u r .eH e m u s t b e a b letomain -

taintheproperstateof muscletoneatalltimes, sothatthemuscular

responseisalwaysrapidandefficient.H

e

emustfeelalive,alertand

p r e sisv e a l l t h e tm i eheissing i n g . F a r d i f f e r etni s t h e v i e w point

ofthethroatysinger,whoactuallygoesdead fortheentirebody

ofthecom p o s iito n , a n dthenma

esaterrib l e e f f rot t o s

u e ee z,or

force,outhishightones,especiallyif theyareloudones.

ence,thewell-trainedsingermaintains,atalltimes,the drive

andthedramaticintensitywhichis essentialforeffectiveinterpreta-

tionandperformance.Thethroatysingeris,mostof thetime,dead

a n d i n ae n, e

ceptwh enhesing shishighton es.Heisthenforced

tostrugglemostdistressingly.Thus,inboth phasesofhissinging,

hedestroys,oreliminates,thedramaticandemotionalfeelingof


themusicandwords.

hang esofA d

ustm entandTh r o a tni e s s

nefurtherpoint:W

nosuddenchangeofad

no"open

(

henthevoiceisproducedproperly thereis

ustmentovertheentirerange.Thereare

shu otyw h iet

)ton esan d"

h ed a,

o r " c o v e er d

( d -e

liberatelythroaty)tones.Thesingerwhohasbeentrained withthe

ideaofch angin gintothe"headvoice,

or"

c e r t ian p i t c h ,sif o r c e d t o cn ot i n u allybra e

thischn ageofad

ustm ent,bc a

c o v ree d t o n s e,

ata

t h e m e ld oi c l i n e t o m a e

wardan d f o r w rad . I

n a d d iito n t o

t h i s , ecah t i m e h e m a e s t h e c h ag ne h e i s f o r cd et o r e l a

    

histong ue,

andthisrenderstheensuing toneverythroaty.Thus,everytime

h e c h a ne gs f r o m t h e"

opentn oe

i n t o t h e " h e a d v o i c ,e

versa,hebecomesprogressivelythroatier.A

                                                                                                                                                                                             

a n d v ie c

saresultof this,abso-

lutethroatinessisalwaysveryrapidlyestablished.H

ence,notonly

doeshisvoicebecomeincreasinglythroatywhilehe issinging,but

heisalsounable tomaintainanysemblanceofamusicalline. This

isespeciallytrueofthe intensityline,becauseeachtimehechanges

i n t o t h e " h e a d v o i c ,e

or"

c o v eer d t o n ,e

theintn e s i t y dor p s s u d -

denly.

2

5





 

    

                                                                                                                               

L o w reR

e g i setr (

Whenawoman

e m ael ) a n d t h e M u s i c a l L ie n

svoicehs aa r r i v d eatthestag e o f d e v leo p m ent

atwhichshecan carryupherlowerregister legitimatelytothe

properpointD onthefourthlineof thetrebleclef theregister

changedoesnotbrea

themelodicline,becausetheintensityrises

evenlyandthecommonresonancead

ustmentforbothregisters

eliminatesanysuddenchangeinthepositionof thetongue(throat).

tisthe womanwhodoesnotusethelowerregister whoisforced

tobrea

a n d d etsr o y t h e m elod icline.Evenwhenshecn aemply o

thelowerregisterproperlyupto middleB

),theintensitylineis not

seriu o s l y i ma pi r e d a t i n t e n stii e s b eol w F .

.

ecord ings

Unfortunatelythereisnoreallygreatsinger livingtoday.There-

forethereader

sonlyrecourse,ifhe wantstogetsomefaintidea

ofwhatartisticsingingactuallysoundsl i

e,istol istentothe

recordsofthegreatsingers ofthepast.Thegreatoperatic com-

poserssuchasV

erdi,Puccini,Mascagni,Leoncavallo,Bizet,Mas-

senet,etc.,wrotewiththegreatvoicesin mind.Theproper

interpretationoftheirmusicdemandsthetechnicale

uipment

possessedbythesesingers.Theywereableto fulfillthedemands

madeupontheirvoicesbysuch composers.Thesingersoftoday

a r e q u i t e u n a b l e t o d o s .o


When weheartheseoperassungat theMetropolitanbypresent

daysingers,theimpressionreceivedispitifullydifferentfrom the

onewhichthecomposersintendedtoconvey.F

orthisreason

thestudentshouldpayfarmore attentiontotheorchestrathanto the

singers,whenheisstudyingan operafromrecentrecordings.The

orchestrasoftodayareprobablyj

ustasgoodas thoseofyore.Thus,

muchmaybegainedfromthemodernrecordings oftheoperas,if

thestudentwillobservethesweep,color andemotionaleffects,

andthestructuralandrhythmicoutline ofthemusicaswrought

bytheorchestra.Theorchestradoesnot brea

melodicline.I

thephrasesorthe

tdoesnotslur intoandoutoftones,or wail,sob,tal

orhumconsonants,etc.I

tgivesanartistic andmusicalperformance.

urthermore,thestudentshouldk

nowwhattheorchestraisplay-

i n g a n d f lol o w i t a t a l l tm i e s . H e s h o u l d k n o w t h e e n t ier o p e r a ,

includingtheorchestralpart,aswell ashisown.Therefore,hecan

learnagreatdealfrom recentrecordingsbylisteningtothe

orchestra,evenifhecannotlearn anythingofvaluefromtheper-

formancesofthepresentdaysingers,to whichheshouldpaybut

scantattention.

                                                                                                                                                                                                                                                                                                                             

       





With therecordingsofthegreat singersofthepastwehave afar

moredifficultproblemtosurmount.Themethodofrecordingwas

badverybad indeed

Thereproductionoftheorchestrawasso

distortedthatithardlygives theimpressionofanorchestraat all.

emem b e r : T h e rp er o d u c t i o n o fht e v o i csew a s j

that,whenlisteningtotheserecords,it isq

ustasbad ,so

uitefutileforthestudent

e v e n t o atte m p t t o g u e s s a t wa ht t h e y r a ellysou ndedli

e

a m pel , w h n elisten ingtoCaruso

e.F or

srecord s ( t h e s e rceo r d s aer t h e

bestoftheold acousticalrecordings)onereceivestheimpression

thatheissinging asloudlyaspossibleall thetime.This,ofcourse,

isbecauseofthecurtailmentof theintensityrangeandthecur-

tailm e n t a n d dsit o rito n o f t h e fer

discu ssedinTheVoiceI

u e n c yar n g e ( tihs q

tsProdu c t i o n ad nR

ctually,onelefttheoperahouse,aftera

u e s toi n i s

e p r ou dc t i o)n.

arusoperformance,

wonderingwhatthefullpowerofhis voicereallywouldbe,ifhe

weretosingabsolutelyfortissimo.Perhaps,onceortwice during

anopera,hewouldsinga moreorlessfortissimotone,butmost of

thetimehewassinging withalmostincredibleeaseandfreedom,

atthenormalintensityofhis voice.H enever,atanytime,pushed,

orforced,hisvoice.H

isnormalintensitywasalwaysloudenoughto

toptheorchestraandfill theoperahouse.F

phrasewith"

drive,

urthermore,hesangevery

energyanddramaticpoignancyand,especially


attheendof hiscareer,hisdramaticfervorwasbeautifullygauged

andcontrolled,accordingtothedemandsofthe musicandthete

t.

twillbeseen,then, thatwhilehewasactuallysingingat normal

intensity(notfortissimo)mostofthetime,the recordsgivean

e n t ier l y e r r n oeou s i m p r es i o n . I n a d d iito n t o t h i,st h e l a c

uencyrangeintherecordinggives theimpressionof"

or"

edge

offre-

whiteness

i n h i s v o ie c,desp itethefc a t t h a t t h e a tcu a l q u a l i t y w a s

alwy a s m e l lw o a n d " s m o toh .

arusorc e o r d s aer m i s l a eding ,but

recordingsofthewomensingersarefar worse,becausetheyare

singinganoctavehigher,withtheresult thatthelac

fre

ofthehigh

u e n c y cm o pon e n t s d itso r t s t h e i r v o ie c s f a r m oer t h a n t h e m en

t a c t u al ly c h a n g e s t h e q u a l i t y c o mlpe t eyl a n d m a

white

andrath e r u n pel a s a n t . D e sitn n

withCaruso

svoicews ac o m p raa b l e

s.H erhightn o e s , i n p rat i c ual r , w eer u n b ei le v alby

beautiful.Theuseofagreat dealoflowerregistergivesthe im-

p r e siso n o f " w h iet n e s s

islargelytheresult ofbadq

ofMelb a

inthemidleofthern age,bu t t h i s e f fcet

ualityrecording.Thecrueldistortion

svoiceonth e r e c o rsdi s e v e n m oer u n f otru n aet . E v e r y

t o n e s h ea sngwasofe

u i s iet q

u a l iyt a n d h e r v ioc e r a n g o u tas

clearasabell. Despiteallthisdistortionthere ismuchtobe learned

fromlisteningtotheserecordsof thegreatsingers.

2

7

s.

esitsoun dthin,

                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                 



 

    

h a p tre1 4

TH E

P

NGV

ingingismerelyaglorificationor magnificationofspeech,whichis

weddedtothelanguageofmusic.Thelaws whichgoverntheproper

functioningofthevoiceforboth singingandspea

ingare,inmost

   

respects,thesame.Thereare,however,certaindifferences,becausesing-

ingismagnifiedspeech.Thesedifferencescanbe statedunderfive

headings:

1.I

n v i e w o f t h eaf c t t h a t t h e t o n e i s m uh c l e s s s utsa i n d einspea

t h e v i bar t o s h u o l d n o t o cu crinthespa e

  

ing,

i n g v o ie c.

2.Becauseofitslowerintensity,the normalpitchofthespea

ing

voiceshouldbefarlowerthan thatofthesingingvoice.

3.F

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orthesamereasonthe consonantsinspeecharecorrespondingly

lessvigorous.Thelessintensevowel phonatedsounddoesnotdemand

suchvigorousarticulation.Thisdoesnotmeanthat thearticulationshould

beslovenlyit mustbeveryvigorousinthe speechrangeofintensity.

4.I

nsinging,severaltonesmaybephonatedon onevowel.This

s h o udl p r a c tci a l l y n v e e r b e d oe ni n s p e e c.hA

ne

c e p toi n t o t h i s r uel

occurswhenonecallsfroma distancewitharisinginflectionon onevowel.

Thesameprocessoftrainingappliesto boththesingingandthe spea

-

ingvoice.

e

uirem e n t s f roa p r o p e ryl u s e d s p a e

i n g v oci e a r e a s f o lol w s :


a.GoodqualityThisim p l i e s por p e r r eosn a n e cad

ustm entandpu re

registration.

b.RangeA

ne

t e n svi e r a n g e(threec o t a vseo r m o r e ) d p eend supon

thesamefactorsasin singing,i.e.,resonancead

c.C

ustmentandregistration.

arryingPowerThis,ofcourse,dependsupon pitchdefinition,

properlysustainedvowelsandthesoundspectrumwhichin turnde-

penduponresonancead

ustmentandregistration.

d.Controlofinten s i t y  T h i s las o d e pn ed s u p o n rseo n acne a d

mentandregistration.Thespea

the" stagew h i s p re

ust-

ingvoice,however,whichmaydropto

andevn e t o a n a b s lou t e w hsip e r , a c n b e u s e d a t fra

lowerintensitiesthanthesingingvoice.The actordoesnothavetotop

anorchestra.

e.Properintensitybalanceovertherange

singing.A

Thisisthesameas in

stheintensityrises thepitchshouldrise,and viceversa.H

ow-

ever,verylowpitchesthose lyingtowardtheverybottomofthe singing

rangeorevenseveraltoneslower areemployedinspeechmosteffectively.

/.I

ntelligibilityThisimpliesrapid, vigorous,clean-cut,cleararticula-

tionandaproperad

ustmentofthepharyngealresonancecavitiesfor

theresonatingofthevowel.

2

8



    



    

g.LegatoThis ismostpronouncedinE

h.S

nglishspeech.

peed,withclearenunciationThis presupposespharyngealvowel

resonationandagilityofthearticulatingmembers.

t.W iderangeofcolor Truecolorisonly possiblewhenthetechnical

trainingiswelladvanced,becauseitis controlledbyminutechanges

inthead

ustmentsofthepharyngealresonancecavities.S

uchcolor

modificationsare,ofcourse,actuatedprimarilythroughpsychological,

ore

p r e sisv e , f c a u l t ise.

/.Theabilitytouse thevoicevigorouslyandaudiblyina largeaudi-

toriumforalongtime withoutfatiguingitandbecominghoarse This

demandsagoodvocaltechnic.

.Theestablishmentofthenaturalvoice

Normalpitch,q

ualityand

power,fromwhichallmodificationsofpitch,color andintensityare

made,fortheportrayaloftheemotionaland e

pressiveimportofthe

words.

. T h e a b i lt y t o e

p r e s,sw h i l e se pa

theeyesandfaciale

ing,thep assin g e m o toi n w i t h

pressionThisabilitydemandsthe elimination

ofallmuscularinterferencewhich,inturn, islargelydependentupon

pharyngealresonancead

ustment(theeliminationofthemouthasa

resonator).O fcourse,noonewhois untalenteddramaticallyisableto

forceth e p r o p ref a c i a l e

Thespea

p r e siso n s .

ingvoiceismoreeasily trainedthanthesingingvoice,be-


causeth e"

v e r y fni e "

ear

re

ear

uirem entsarels es s t r i n gent.U n l e s s a s ig ne r h a s a

hecann otbecom e a g r e a t a rits t . H e m u s t b e a b l e t o c o n -

ceive,assingleunits,comple

musica lphrasesintheir propertime,

rhythm,intensityandcolorwithabsolutedefinitionandclarity.This

somewhatraretalentisnotdemandedofactors.

Thespea

ingvoicecannotbetrainedwhenthe sub

ectisreallytone

deaf,becauseunderthesecircumstances,thereisno mediumofcontact

betweentheteacherandthepupil.

incethenormalpitchin speechislowerthanin singing,becausethe

intensityislower,thepurificationofthe lowerregisterbecomesoutstand-

inglyimportantinthetrainingof thespea

bothse

falsettoorthemi

Mi

ingvoice.Thisappliesto

e s , b u t p rat i c ual r l y t o wm o en,w hoarewon ttospea

e d r e g itsr a toi n i s t h e m otsd e a d l y foa l l f a u lsti n s p e e c h .I

anunpleasantq

inthe

ed-falsettoregister.

tinducs e

uality,lowintensityandpoorcarryingpower.Theper-

petratorofthisbadform oftechnicisimpairinghis vocalapparatus

witheverywordhespea

A

s,eveninnormalconversation.

womanwhousesthefalsettoregisteronlyis boundtoforceitand,

attimes,employmi

edfalsetto.Thisapplies,inparticular,to actresses.

Theingenuemayusemoreor lesspurefalsetto,andifshe

eepsthe

pitchveryhighandthe intensityratherlow,hervoicemaysurvivefor

afewyears.Laterin life,however,atj

ustabouttheagewhenshe should

beportrayingmoredramaticcharacters(becausesheis toooldtoplay

ingenuerolesanylonger),hervoiceis apttogobac

onher,thusputting

anabruptterminationtoherstage career.

Theuseoftheunco-ordinatedlowerregister,especiallywithwomen,

producesahard,coarseq

of"

tough

zation.

uality,whichmaybeeffectiveinthe portrayal

r o l e,sb u t i s e n trie l y u nu sitedton a y o t h ret y p e o f c h raa c t rei -

                                                                                                                                                                     

            

                                                     

                                                               

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    

Withmen

thee

svoicesw e v e r y otfe n f i n d m i

t r e mley e f f m e i n tae m a n u s s em i

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e d l o w rer e g i srta t i n o.Only

e d f a l stet o . I

normalpitchmayberaisedover anoctave.Theq

n b o t h c ae ssthe

ualityisthroaty,nasal,

orboth,andthereis littleornopossibilityof coloringthevoice.This

technicsub

ectsthevocalapparatusto seriousstrain.

Theuseofe

tremelylowpitchesinspeechhas alreadybeenmen-

tioned.Thereisane

traordinaryeffectivenessinthesepitches,andthey

carryverywellinan auditorium.Thiscarryingeffectissurprising,even

totheperformerhimself.V

erydeepemotionsshouldoftenbee

b y m e asno f t h e l o w s et p i t c h e s i n t h e v oci e . F o r e

a m p l:eA

aboutn aoctaveb elowlw o Dshouldbeu sedtoe

presse

pressed

pitchof

t r e m ley d e e p ,

heartfeltemotions,despitethefactthatthesinging rangemaye

a b oe v h i g h C . T h e u s e o f h i g h p i th ces,sp o

enq

tendtoD

u i e tyl , i n o r d ret o c o n v y e

deepemotionssuchaslove,despair,etc.,producesan unnaturaleffect

whichdoesnotringtrue.

Generallyspea

ing,however,astheemotiongrowsthepitch should

r i s e . Ud ne r t h e s ter s s o f e

tremee

citem e n t t h e ptic h m a y r ie stwo

octavesormoreaboveitslowestpoint.W

henthesehighpitchesare used

theintensityalsomustrise tofortissimo.

Despitethefactthatthe spea

sustainedastosoundli

ingvoiceshouldnotbe soover-

esinging,itshouldcarry overthesentenceina

definitelypredetermined" tune,

i.e.,pitch,timeandrhythm.This"


tune

inspeechisone ofthemostvitalphasesin theproperreadingoflines.

The"

singing

effectinspeech,whichismost heartilytobecon-

demned,istheresultof:

1.C

hangingpitchononevowel.

2.S

ustainingtheaddedvowelfortheconsonantsm,n, 1andng.

3.Theover-accentuationofunimportantwords.

4.Theaccentuationofeachand everywordandsyllable.

nthisconnectionit shouldbepointedoutthatthe radioannouncer

whoarticulatesandpronounceseachandeverysyllablee

pedantically,correspondstothe"

tionisine

ham

uallyand

actorofold.Thisform ofaffecta-

cusable,evenfromtheviewpointofdiction.

Theaimofthespea

eroractor mustbetoma

ethemeaningofwhat

heissayingpoignantandat thesametimeclearlyunderstandable.The

deliberatepronunciationofeverysyllableentirelydefeatsthisend.V

andmusicale

pressionrestsuponcontrast.W

thereisneithere

pressionnormeaning.F

ocal

herethereisno contrast,

urthermore,naturalnessis,

aboveall,theaimofthe trueartist.Misunderstandingofwhatconstitutes

properdictionresultsinunnatural,affectedand inartisticspeech.

ninters et i n g pion t w i t h r g eardtoth e"

f a c t t h tat h e E n g l ih s a n d A m e r ia cn"

tune

tunes

inspec eh l i e s i n t h e

arewid e l y d i fefr e n.tT h e s e

nationalcharacteristicsareoffargreateri mportthanthemeredifferences

inthepronunciationofcertainwords.

undamentalfaultsinpronunciationareprimarilytechnical.Thus,the

useofthegu t t u r la"

ur,

themiddle-westoftheUnitedS

a s i s t h e n a sla"

you ,

ah,

blu e,

w h i c h i s a p rvea l etnf a u l t w ihti n h a btia n t s o f

tates,istheresultof athroatytechnic,

o r t h e m o uht i n g " e e - o

e t c. T h e w o dr "

can t,

for"

oo

fore

am p l e, m a y b e p or n u o ne cd

insuchwordss a

techn i c a l l yo c r r e cl ty , i r r s ep e citv e o f w h etherth ebroadEnglish" ah

270

or



  

    

t h e s h otrA

m e rci a n "

a

isused.I

t i s o n l y w hn et h e s h o r t " a

n a s al ly t h a t a n asbo l uet f a u l t i n d i tci o n a rsie s . A g a i n , t h e C o c

t h e u l tar -

i s p r o dcue d

neyand

n g l ih s ( s o - c lal e d " P i c c a d i l l y ) a c c e nsta r e t h e r e slut s o f a

white,mouthvowelformation,andarej

ustasmuchtechnicalfaults

asthegutturalandnasal soundsusedbyA

mericanswhosevoicesare

producedbadly.Thepointemphasizedisthatit istechnicratherthan

dictionthatisvital.

When thevoiceiscorrectlyused technically,theq

ualityisgood.The

properpronunciationofanygivenwordis determinedbythecultured

minority,andisaptto changeastimeelapses,buttechnicallaws are

fundamentalandthereforeunchangeable.

Thereisaverycurious belief,heldinstagecircles,to theeffectthat

a h i g h -ipt c h e dp sea

i n g v o ie ccharc a t e r ie z s y o uht . T h i s i s a b surd

bassesandcontraltoshavelowspea

oung

ingvoices,whilesopranosandtenors,

regardlessofage,haverelativelyhigh-pitchedvoices.F

reshnessand

clarityindicateyouth,andthesecharacteristicsare alwaystheconcomi-

tantsofgoodtechnic.Thereasonwhy wecangenerallytellwhethera

personisoldor young,whenwehearhisvoice,is becausemostpeopleuse

theirvoicesbadly,andabuseofthe voiceprogressivelyimpairsitsq

witheachsucceedingyear.I

fthetechnicis good,ayouthfulq

uality

uality

(notachildishone) persistsuntiltheindividualis reallyold,whenthe

vocalp a p a r tau s t e nsdt o "

brea

up,

a s d o a l l h i s oht e r f u n tci o n.sT h e


voiceofanindividualover50 shouldnotsoundmateriallyolderthanit

didwhenhewas20,providedthat histechnicremainsgood.This

statementdoesnot,ofcourse,ta

ofaddede

perience,k

eintoaccountthepsychologicaleffect

nowledgeandcommandwhichcomewithma-

turity.

A

thro aty,high-pitchedvoicesoundswornandoldevenwhen its

possessorisreallyyoung.

Thereisanothermisunderstandingwhichhasbeenencounteredamong

s t a g e drie c t ros : W h e n a v o i c e i s t hci

actrs es i s s p e a

, t h e y b lei e v e t h a t t h e a cot r o r

ingattoolw o a p i t c h . W h e n i t i s s h rl il , t h e y syat h a t t h e

pitchistohigh.I

nwor

startedwiththic

voices,ithasbeenfoundthat,evenwhen thepitch

i n g o u t t h e tceh n i clap r o b l m e s o f p u pl is w h o

hasdroppedmanytones,theyareseldom,ifever criticizedbythe

directorforspea

ingattoolow apitch.Theshrillvoice, however,is

alms ot a l w asyp i t c h d etoohigh .I

n p r a c tci e m o s t p o eplesp ea

attoo

highapitch,and,in almosteverycase,technicalimprovementisaccom-

paniedbyadropin thenormalpitchofthe voiceespeciallyin theearly

stages,whenthelowerregisterisfirst revealed.

With referencetothesingingvoice,thebest possibleq

closedwhenthetechnicis goodthisis thenaturalq

ualityisdis-

ualityofthevoice.

tisperfectlyspontaneous,andis notimposeduponthevoicebyany

c o n s ico u s a c t o f te hs i n g e r o r s p ea

e r . O n e o f t h e w o r s t f ial i n g sofboth

a c t osra n d s i n gres i s a n a t t e m ptto"

ma

eq

u a l iyt .

T h e y lsit e n t o t hier

ownvoicesandtryto assumewhattheybelievetobea beautiful,mellow

uality.Theonlyresultofany suchendeavoristheproductionofa

thic

,throatyq

generallyspea

ualityanddistortedvowels.Theemotionsconveyedare,

ing,meremaw

Thechiefaimandob

ishconceit,affectationandinsincerity.

ectoftheactor orsingerwhoisa trueartistis

toconveyemotion,colorandatmosphere.Despitethefactthat theact

271

                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                       

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pressingis,inthe lastanalysis,psychological,itreststechnically

uponvowelmodification,which,initsturn,dependsupondelicate,refle

interad

ustmentsoftheresonancecavities.Thecontrolof colorimplies

verydefinitemodificationsfromthenatural,normalq

ualityofthevoice,

andisthespontaneousresultof theemotionalurge.A

ma

eq

u a l iyt

e n t i r ley d e s tor y s t h i s e

nyattemptto

p r e sisv e f u n ction , b e c a uesa f i

ed

ualitycharacteristichasalreadybeenimposeduponthevowelby the

v o l iito n a l a tco f t h e p e rof r m re. T h u s t h e"

note

v o i c e rlol i n g ,

ham

actoris

p r e sisn g a n tyh i n g .H eismerelyd estry o i n g h i s rat w i t h a c h ep a

attemptatportrayingwhatheneverfeels.W

arenotsoap ttobecom e"

u a l iyt m a

d i c t in os i n g e r

er

or"

hamm y

andth e"

hiletheactorsof today

a s t h o s e foy o r e , w e s t i l l f i n d te h

v o i c e rlol e r .

d i c toi n s p e a

inthesam e c a t e groy a s t h e " h a m

er

Whatmig htbeterm edthe

i s, psc yh o l g o i c al ly a n d a r tsit i c lal y ,

a c t o.r

Toallintentsandpurposes,the processoftrainingthespea

ingvoice

shouldbethesameas thatoftrainingthesinging voice,becausethe

muscularsystemusedinspeechis e

actlythesameasthat usedinsing-

ing.Thus,thetechnicof speechdependsupontheproperdevelopment

a n d c o -rod i n tai o n o f t h emuscls eo f t h e t h oar

igoru oswor

,laryn

a n d t o nu ge .

mustbedn o e b y t h ee s m u s cel s i f t h e y aer t o b e d e v eol p e d

andtrained.Becausesingingisa farmorevigorousformofvoicepro-

ductionthanspea

ing,propertrainingofthe muscularsystemcanbe


accomplishedonlythroughthemediumofsinging.

Thus,theprocessoftrainingthe spea

ingvoicerestsuponthe isola-

tion,separatedevelopmentandfinallytheco-ordinationofthetwo

groupsoflaryngealmuscles(registration)

ofaproperresonancead

andalsoupontheattainment

ustment,oracousticcoupling,betweenthe

vocalcordsandtheresonancecavities.

Theisolation,developmentandtrainingofthewea

ergroupoflaryn-

gealmuscles,or,inotherwords,the unusedregister,ise

train ingbothth espea

uallyvitalin

ingandth esingin gvoice.h T u s , we hn a m a n

voice,whichistoohigh-pitched,employsmi

s

edlowerregistration,the

isolationanddevelopmentofthefalsettoisoftenthe

eytothefinding

ofthepurelowerregister.This register,initspure state,will,atfirst,

berevealedforbuta fewverylowpitches.Thepupilmust,at thisstage,

betoldtouse onlythesepitchesinspeech.Under suchcircumstances

hisrangeislimited,but, asthetechnicaldevelopmentproceeds,itwill

e

tendfurtherandfurther,untilfinallya fullrangeofaboutthreeoctaves

isreached.

c e p t f roa p i e r c i n gcs r e a m o f g a o n ,yo r f o r c o mci e f f e cst, n o m a n

shouldeverusethefalsettoregisteri nspeechanymorethanhe should

insinging.

Thetrainingofawoman

sspea

ingvoiceisgenerallya problemof

firstisolatingthelowerregisterfor verylowtones,applyingthesefew

tonestothespea

ingvoiceandthenproceedingalong thegenerallines

oftechnicaldevelopmentemployedintrainingthesingingvoice.

tismostimportantto noteherethatanytechnicalimprovementin

thesingingvoiceshouldbe immediatelyappliedtothespea

fthisisnotdn o e , t h e s ig ni n g a n d se pa

ingvoice.

ingtech n i c s w il ln o t a s s c oi a t e

mentally.Thispointisonlytoo clearlydemonstratedbymanysingers

whousetheirvoiceswellwhenthey singandbadlywhentheyspea

272

,

  



    

a n d t h e i nevr s e  a c t ros w i t h fni e s p e a

cannotsing.(Thislattercaseis

i n g v o ie c s a n d g od o"

ears

who

generallytheresultofincorrectvocal

training).

tisbynomean seasyforth espea

i n g v o ie cpupiltoad o p t t h i s por -

cedurebecausetheenormouschangeinhis spea

ingvoicewillprobably

becommenteduponbyhisfriendsand relations,whoareapttothin

thatheistal

ingaffectedly.Theyhavegrownusedtohis faultymethod

ofvoiceproductionandassociatethistype ofspeechwithhispersonality,

sothatanyradicalchange maysoundunnaturaltothem.A

furtherdiffi-

cultyliesinthe factthattherangeis, atfirst,verylimited,andthe

normalpitchmaysuddenlybeloweredbyan octaveormore.Thiseffect

willalsoseemstrangetohis ownear,untilhehas beenpractisingitfor

sometime,whentherelieffromvocalstrain willbringwithit asense

oftruenaturalnesswhichhehas neverbeforee

perienced.

When thepurelowerregisteris firstdisclosed,thepitchat whichthe

pupilmustspea

willusuallybeverymuchlower thantheonewhich

hehasbeenwontto use.A

sthetechnicdevelopsthis pitchwillusually

risesomewhatandtherangewille

tendtoanenormousdegree.

nsinging,theartistmust conceivethemusicalphraseasa single

unit.Ex

c e p t i n r aer c a s e,st h e i n t esni t y a n d cloo r o f e v rey t o n e i n t h e

phraseisdeterminedbythefirst tone.A

rises,andviceversa.W

sthepitchrises, theintensity

herethesongis writtenproperly,arisein pitch


coincideswitharisei nemotion.Q uietphrasesarewrittenlowin the

ran g e o fht e v ioc  e fore

a m lpe : I n t h e f i sr t a ct o f W a g n er

s"

Wal

thetenorneversingshigherthan Guntilthefinal climacticphraseis

reached,wherehighA

isfound.E

venhighGoccurs butrarely.This

actsdep i c t s a q u i e t , t e n d e r lvoe s c e n e b etwenS

W h e n t h e p h r ae sise

iegm u n d a n d S i e g l i n d .e

citin ganddram aticitshu o l d l i e i n t h e u p e r p atr

ofthevoice.

n s p e e c hht e s a m e r u le

a p p l.yT h e u n i t o f se pe c h i s t h e sn et e n e c,

notthesingleword.Theactor, whenreadinglines,mustconceiveeach

sentenceasasingleunit. Thepitchmustriseand fall,astheemotion

risesandfalls,in adefinite,predetermined"

tune.

Thecolorshould

practicallyalwaysremainconstantoverthesentence.A

pic

nyattemptto

outtheparticularwordandgive toita specialemotionorfeeling

is,generally,cheapandinartistic.Thus,if aphraseisbeingread inwhich

thespea

eristryingto soothesomeonetosleep,theentiresentenceshould

haveadar ,sooth i n g q u a l iyt . T h e s i n g l e w odr "

sleep

s h o udl n o t b e

isolatedfromthesentenceandgivena specialcolor.

nsingingwehavealsothe factorsofaccentandrhythmto consider.

oinspeech thetempoisa vitalfactorintheproper interpretationof

lines,asisthe stressingoftheaccentedsyllablesof thek

eywords.The

singermustneverpushhis tonesbeyondacertainpointof intensity.

lthou ghthespa e

e r o r s i n g rec a n v a r y t h einten sityatanyg i v e n p ict h ,

withincertainlimits,eachtonein hisvoicehasa definitelimitofloud-

nesswh i c h m u s t ntob e e

ceedd e . A n y f u rht e r r i s e i n i n t e n stiy s h o udl b e

accomplishedbyarisein pitch.A

sageneralrule,however,it isfarmore

effectiveforhimtoraisethe pitchforincreasedemphasisthantoincrease

theintensityonthesametone.The. e

ceptiontothisrule ofrisingpitch

forincreasedemotionistheuse ofverylowtonesfor e

emotions.

273

tremelydeep

u r ,e

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Theconceptofthesentenceas asingleunitpresupposesa virtually

unbro

e n f l o w fot o n e o vret h e s e n t n ece.

u c h a f l o w o fot n e i s n o t

possibleintheLatin languages.F orthisreasonE

nglish,German,etc.,

aremoreeffectivedramaticallythantheLatinlanguages.I

tisrather

difficultforthepupil,whohas neverconceivedthisunbro

enflowof

toneoverthesentence,tolearnhow toencompassit.I

tisprobablethat

hewillnotlearn todosountil heisableto singpassablywell.This

f l o w o f tn oe

demn adsaprop e r t e c hinc , b e c u asetheon ewhouss ea

mouthvowelformationmustinevitablybrea

th eflowashe goesfrom

consonanttovowelandviceversa.

Thevibratodoesnotoccurin normalspeech,becausetheduration

ofthevowelsoundis generallyonlyfroml/20thtol/5thof asecond.

Thus,inmostcases,thetime intervalislessthanthe durationofone

vibrato.I

fthevibratowereto occur,itwouldbeinterpretedas part

ofthetransitionfromonesyllableto another.Nevertheless,becausethe

trainingofthespea

ingvoicecanonlybe carriedoutthroughthedevelop-

mentofthesingingvoice,and becausenotoneinthe singingvoicewhich

iswithoutvibratocanbe producedproperly,thevibratofactordoes

enter,indirectly,intotheproblemoftraining thespea

ingvoice.

Thereisanotioncurrent amongactors,actressesandpublicspea

t o t h e e fef c t t h a t t h eyshou ld"

pro

ect

ers

t h e i r vioc e s t o t h e bca

ofthe

theaterorhallin whichtheyareappearing.Thisconceptis withoutany


basisinfact.To fillanauditorium,theintensitymustbe increased,and

thisimpliesadefiniteaugmentationinthe amountofphysicalwor

Thespea

erwhotriesto"

pro

ecthisvoice

scream,andtherebydestroytheresonancead

don e.

isonlytooapt toshoutor

ustmentthatis tosaythe

u a l iyt o f h i s v o i e c.

Thevowelsoundsmustbeas sustainedaspossible,andtheconsonant

orconsonantsattheend ofonewordmustbeconnectedonto thecon-

sonantorconsonantsatthebeginningof thene

thene

t w o r d s t rat s w i t h a vw o elsou nd.I

ofsoundisbro

tword,orthevowelif

f t h i s i s n o t d oe n, t h e c o n t i n utiy

en.W heretwovowelsfollowoneanother,as,forinstance,

withthew ords"toart

or"

f o r e vl i

therem ustbenobra e

betw eenthe

vowels,butmerelyagradualmodificationintheshape oftheresonance

c a v iite s , s o t h atthe" oo-h a

elidd e.I

o r , i n t h e l tat e r e

ntheword"for

t h e l e tet r "

andshouldnotbearticulated.W

aw

and" ee,

elided

a m p l,et h e "

aw-e

are

m e r ley i n d i a ct e s t heo vwelsu ond

hilethereisno brea

betweenthe

t h e r e i s a d rp oi n i n t e nist y a s t h e t w o v o w les o u n d s rae

whereas,withthediphthong"

maintained.Brea

r

oftheintensityiscontinuously

sbetweenvowels,orbetweenwordswhichendor

startwithconsonants,aredestructivetothe flowoftone.W iththecom-

poundvowelsonlyonepartmaybe prolonged.Thus,intheword"

w h i c h i s por n o u nced"nee-oo,

the" ee

itisthe"

oo

new,

whichm u s t b e p r loo n g d eand

shou ldbeasshorts ap o s s i b le.Similarly,w i t h t h e w rod "

whichcn o s i ssto f "

a h - e,e

itisthe" ah

,

w h i c h i s por l o n g edandthe"ee

whichisshort.

Thevariousfaultsinpronunciationwhichare commononbothsides

*

S

ee"

o m e P hsyi c a l C h a r a c t rei s t i sco f S

peechn a d M u s i ,c

letch er.Pub lishd e:R eviw e sofMod e r n P h syi c s . V o l . 3 , A

ysteme T c h nci a l

-

274

o u r nla. V

byH

arvy e

pril193 1.Bell

ol.10,J uly193 1 . ( p a gse1 0 4 , 1 1 0 )

                                





 

    

oftheA

tlanticO

ceanwillnotbe enteredintodiscussionbecausethe

processofcorrectingthesefaultslies solargelyinmereimitation,and

alsobecauseA

mericanfaultsaredifferentfromthoseheardin

tisabsolu telyim p o s sbi l e f o r t h esingerorsp ea

ngland.

e r t o c o r rcet m a n y

ofhismoreprevalentmispronunciationsuntilhisvoice hasbeentrained

properlyandisundercontrol.W

henthisendhasbeen accomplished,

theprocessofteachinghimdiction isarelativelyeasyone,becausehe

isthenableto copythepronunciationgiventohimby theteacher.

Theprevalentpracticeofendeavoringtoteachdiction topersons

whosetechnicisfaultyshouldbe condemned.Thispracticemerelyleads

fromonepoorpronunciationtoanother.W

hileanyone,whohasthe

patience,candomuchtohelp himselfincorrectinghismoreflagrant

errors,theuseofa dictionaryis,generallyspea

harmful.A

ing,misleadingandeven

phoneticdictionarymaybeinterestingasa referenceboo

butasanaid toself-studyitispractically worthless.A

,

phoneticsymbol

mayindicatethepronunciationofagiven vowel,butitdoesnotgive a

m e nat l p i c t uer o f t h e q u a l i t y w h i c h d eterm i n e s t hsiv o w le. I

tisthis

mentalpicture,andnotthemeresymbol,which enablesthespea

eror

singer,whosetechnicisgood,to enunciateproperly.F urthermore,pho-

neticindicationsdonotcover theverylargenumberofvowelsounds

overeightyin theE

nglishlanguage,andcangiveno indicationwhat-

e v e r o f c loo r , w h ichisane

uallyim portn a t p h ae sofreson ancead


u s t mn et

fortheproductionofanyparticular vowelsound.

sageneralrule,it

hasbeenfoundthattheuse ofaphoneticdic-

tionaryinteachingoneselfhowtospea

leadstoaffectation,stiltedspeech

andgeneralconfusion.

tthepresenttimealmostall teachersofphoneticsshowtheirpupils

mouthpositionsforthevowels.Thispracticeis destructivetechnically.

tis,however,probablytheonlymeanswhichcan beadoptedbythe

classteacherwhowishestotrain groupsofindividualswhoenunciate

incorrectly.While thisisthe onlymethodhecanadoptto forceachange

inthevowelsoundstheyare ma

ing,itistechnicallyharmfuland should

beavoided.

Thesamedifficultyalsoappliestothe teachingofforeignlanguages.

o w i s t h e t ecah e r o f F r e n c h , f o r i ntsa n c,et o i n s t r u c t h i s p u pl is i n t h e

properpronunciationoftheF

renchvowelsounds,whicharenotfound

i n E n g l ih s , o t h ret h a n b y g i ivn g t h e m m outhan d l i p p o s iito n s

very

vowelsoundineverylanguagecanbe properlyresonatedpharyngeally

butwhatisto bedonewiththepupil whousesamouthvowelformation

i n E n g l ih s

f c o u r s,ei f h i s v o i c e i s tar i n e d p r o p elry a n d h e h a s laer n e d

howtoshapehispharyngealresonancecavitiesfor allvowelphonation,

hewillbeable toreproduceanysoundhisF

renchteachermayindicate.

Beforethisconditionhasbeenattained,anyattemptto formtheF

rench

vowelswithhismouthmustinevitablyharmhis voice.

n s i ng i n g,th econ son a nst "

d,

1,

n

and"t

shu oldb e a ritc ulaet d

byhittingthehardpalate withtheundersideof thetongue.Thiselimi-

natesth e"

out

thusbra e

out

gestu rewhichc oc u r s w h enthetipisem p l oe yd.Any

gestu reoftheton g u e r elfe

lyrela

esthegen i o - gol s s u s m usclean d

sthemeld o i c l i n .eW h e n t h e u n d e r s i d e o f t h e t o nu ge i s u s e d

adownmovementoccurs.Thetipmaybe usedinnormalspeech.

275

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  



    

h a p tre1 5

UN C I

E NT F

I C T

A C H I N GM T H O D

nentiregenerationofsingershas beenannihilated.Thepurpose

ofthischapteris toshowwhythishas occurred.

Thereisnosinger intheworldtodaywhocould possiblybe

classedasbetterthansecond-ratein comparisonwiththegreat

  

artistsofthelast generation.Thebestsopranoofthedayhas seven

tones,middleDtoA

flat(abovethetrebleclef),ofdefinitelypleas-

i n g q u a l iyt . B eol w t h i s D h e r v ioc e i s w e a

a n d r a te hr t h i c

.This

  

areaofhervoiceis generallyalmostinaudiblewhentheorchestra

i s p l a yni g . A b o v e t h e A

tones(highBandC

f l a t s h etsa r t s t o g o s h r i l l a n d hreh i g h ets

)arelittlebetter thanscreams.Theyaresung

w i t h t h e lpi s s p r ed aa n d a r e n o t olny "

arequiteoftensom e w h tao f f -

strictedthroaty.H

w h iet

                                                                                                                                                                                                                                                                                                                                                                                                       

a n d s h rl il b u t t h e y

e y . H e r s o f t s i n g ig ni s d e f i ntie l y c o-n

erfivebesttonesare reallygoodonlywhenshe

i s s i n g ig nf u l l v o i e c.A therbestsh e c a n b e c l e alry h e adr i n t h e

MetropolitanO peraH

ouse,butshenever,atanytime, reallyfills

theauditorium,asthegreatsingersof thepastgenerationdidwhen

they"openedup

onahighton e . F u r t h rem oer , s h e o fet n s l u r s

badly.H erintonationisbetterthan thatofanyothercontemporary

singer,andseriousdeviationsfromthepitch arerelativelyrare.S

he

breathescorrectlyanddoesnotinvolveher chestinphonation.H

er


musicianship,actingabilityandartistryareof ahighorder.

Thebesttenorofthe dayhasavoicewhich,though truetopitch

mostofth etime,isquitethic

, h a s a d i s tni c t v i bar t o -rte m loo

movement,isdefinitelypushedespeciallyfortheupper tonesand

doesnotmountproperlyinintensityabovehigh

arenotresonatedproperly.H

.H

ishightones

isregistrationisunco-ordinatedbut

u i t e p uer  f a r p u r e r t h anthatofan y o t h e r mlae s i n g re. H e n c e ,

t h e q u a l i t y o f h i s v oci e i s t h e b e s t o f lal m e n s i n g ersoftod ay.When

singingfortissimo,inaverydramaticpassage,his performanceis

oftenmosteffective.H eneverreallyfillsthe operahouse,however,

a s d i d s u c h sni g e r s a s C a r u s o . D e s p iet t h e f a c t t htat h e q

u a l iyt o f

hisvoiceisbetter thanthatofanyother contemporarymalesinger,

itcannotbecomparedwiththat ofC

27

aruso,orofmanyofthe other



  



    

greatsingersofthepast generation.Whenhe singssoftlyheis apt

toemployanunco-ordinatedfalsettoregister,whichdeviceis

illegitimateandsoundssilly.W hilehisvoiceis notthroaty,itisnot

h e l d o pn e

Lac

i . e,.a b s oul t e "

open ing

ofPow erPresn e t - dyaC

Withthee

                                            

h a s n o t b e n e s t albi s h e.d

harc a t e r itsi c

    

c e p toi n o f t h ee s t w o a r tsit s , w h o a r e a u dbi l e m u h c

ofthetimetheyare singing,thereseemstobeno oneelsewhocan

reallybeheard,e

ceptfortheuppertones,when theorchestrais

playing,orwhoseq

ualityisdefinitelypleasing.F

i s a l m otsu n i v esra l . A l l t h e s o f t s i n gni g (

aultyintonation

m e z z ao vce

) h e a r d i s d -e

liberatelythroaty.A llthehigh tonesareforcedthin,shrill,screamy

ornasal.Themovementinallthese othervoicesisprimarilytremolo

ortremolovibrato.Mostofthesesingers arehardlyasgoodvocally

astheoperettasingersof thepastgeneration.

TeachersofthePast

Teachersofthepastwerenot scientists.Theyk

newnothingof

acoustics,physiologyorpsychologyandthemoreseriousonesdid

notpretendtodoso, although,eveninthatgeneration,therewere

moun teban swhotal

e d a l o t o f n o nesn s e a n ddidalotofharm .

Thebestteachersofthat era,however,didk

nowcertainrather

obvious,fundamentalfactsaboutsinging.I

nthefirstplace,they

                                                                                                      

   

realizedthatthesingerwhowas notaudibleabovetheorchestra,


inanoperahouse,couldnot beclassedasanopera singer.They

desig natedh ima"

p a r l ros i n g e r

doanythingaboutit.H

tonetheyli

a n d d i d n toc l a i m t o b e a b leto

owever,whentheyheardafull,free,ringing

edit,andtheyencouragedtheir pupils,wheneverpos-

sible,toproducej

ustsuchtones.Theirmethodof procedurewas

m e r ley o n e o f " t r i a l a n d e r r o r .

Thissortoftrainingcan slightlyimproveagreatvoice,andk

i t g r e a,ti f t h e t e a h c e r h a s a n e raw h i c h i s a d

betweenagoodandabad tone.I

eep

u s t e d t oht e d i f free n c e

tcannotradicallyimproveany

voice,anditcannotchangethe classofanysinger.Nevertheless,

thepupilwitha naturallygreatvoicesurvivedand,inmanyin-

stances,becameagreatartist.

Pseudo-scientificMethods

Thencamethescientificera.S

whocouldflavorhisremar

ciencebecamepopular.Theteacher

swithpseudo-scientificphrasesmade

adefiniteappealtothe vocalstudent.Theteacherwhomerely

277

                                                                                                                                                                                                                  

                               



  

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    

                                                                                                                                                                                                                                                                                                                                                                                                                                                         

pluggedawayattryingtoteach hispupilstoproducethe best

p o s sbi l e s o ud ns , b y d i n tofhardwor

and" trialan derror

meth ods,

wasdefeatedbythesmartsalesman,whousedwildand imaginative

phrases,q

uitedevoidofmeaning,toimpressprospectivepupils.

Manyofthegreatvoicesgot offthetrac

theirpossessorswerestillrelativelyyoung.S

an ddeteriorated,while

omeofthesee

-singers,

whosenamescarriedatremendousweightwiththepublic,became

teachers.Becauseoftheirveryhighstandingas artists,theywere

abletodemandenormousfeesandpupilscrowdedto themfrom

everycorneroftheglobe.Theyk

scienceofvoice.Theyk

newnothingwhateverofthe

newnothingofacousticsorphysiology

andtheprinciplesofpsychologywerea closedboo

tothem.They

hadtosaysomethingstartling.Therefore,theydevelopedasalestal

tobeup-to-date,interestingandscientific.W

hatweretheytodo

n o wni g n o t hni g o f p h syi c s t h e y o culdnotv ee n t h i n

interm sof

thephenomenawithwhichtheyweredealing.Theyhadonlyone

sourceofinformationtofallbac

upontheirownphysicalsensa-

tions.

Therefore,theysetouttodescribethese sensations.Theyclothed

thesee

planationsinthemostpreposterouslanguagethathasever

beenpromulgatedinanybranchoflearning.The onlysciencewhich

theywereabletopursuewas anatomy,becausethisstudydemanded


merelyagoodmemoryfornamesandno scientificunderstanding

wasnecessary.I

notherwords,manyofthemdid learntheanatomi-

calnamesofthemuscles,cartilages,etc. usedorwhich theyim-

aginedtobeused inphonation.Becausesingingisprimarilya

problemofphysiology,psychologyandacoustics,asuperficial

n o wel d g e o f a n atom yalonew a s q u i t e f uitl e . I

tdid,how e v e,r

providethemwithsomelong,scientifictermswhichthey could

usetoimpresstheirpupils withtheirsupposedscientifick

nowledge.

Theirbasicmethod,then,reallydependeduponthesensations

whichtheye

voices

periencedwhentheysang.Butthey hadlosttheir

hatiswhytheywereteaching,instead T ofsinging.These

sensationsweremerelythosewhicharee

periencedbythesinger

whohaslosthis voice,orbytheindividualwhohas no"

voice.

natural

Theywereactually,ineffect,thephysicalmanifestations

ofthetechnicalfaultswhichhad eliminatedtheirvoices.

When thevoiceisproducedperfectlyit issofreethat practically

nodefinitemuscularsensationscanbelocated.The morefaultythe

technic,themoredefinitethemuscularsensationswhichthe singer

e

periencesbecome.S uchsensationsaremerelythemanifestations

oftheinterfering,andwrong,musculartensionswhichoccur be-

causeoftechnicalfaults,

-

278



 

    

                                     

We had,then,agroupofteachers,with famousnames,whode-

liberatelytaughttheirpupilstoreproducethe sensationswhich

wereactuallythephysicalmanifestationsofthetechnicalfaults

whichruinedtheirowngreatvoices.

amou sNames

Letusbespecific: Thethreeleadingteachersofthe timewere

March e s i , L il li L e h mn an a n d J

eanDeResz

e . T h eer w e r e m n ay

others,butthesethreewerethe mostprominent.

March esimar

a n d e r rro

e d t h e p eiro d o f t r asni t i o n b etwenthe" trial

a n d t h e " p s e u d o -csi e n tfii c

becau seoflac

ness.

teach er.Shelosthervoice

o f l o w rer e g i set r c o - odr i n aito n a n d e

c e s svi e "

w h i t-e

hedidknowareallygod o t o n e w hn es h e h e adr o n e . H e r

pupilMelba sangbeautifully,inspiteofher teaching,because

s h e d i d n toi n t e ref r e w i t h tihs g r e a t sni g e r

e v e r ,h setriedtom a

M e l b,aa n d s h e c o n fusd eMelba

s c l a r i t y fot o n e w iht "

andherco-ordinationofregistrationwithlac

(Melb a

s n a t u r lat e c h nci . H o w -

e a l l h e r o t hrep u p i l s s u onde

actlyli

oflowerregister.

s r e g i set r s w eer c o - o r d i n a td ea n d s h e h a d n o b rea

chesididnotshut Melba

svoiceoff.W

s h e w a s ntos o s u c c es f u l , bcea u s e s h e"

e

w h iet n e s s

.)Mar-

ithherotherpupils,however,

w h i tn ee d

eliminatedthelowerregister,whenabrea

t h e i r v ioc e s a n d

waspresent.Therefore,

shedidradicalharmto virtuallyeveryotherpupilwhostudied


withherandshedevelopedan absolutelydestructiveschoolof

white,

throaty,falsetto-onlysinging.Despitethisfactsheallowed

herpupilstosing moreorlessout loudandshewantedthemtobe

abletofillan auditorium.

LilliLehmannwasformanyyearsthe world

teacherfinancially.S

hek

smostsuccessful

newnothingofscienceandhad almost

e n t ier l y l o s t hrev o i c e w h e n s h e s t rat e d t o t e c ah . I

naboo

o n s i n gni g

shepropoundedtheorieswhichcanonlybe designatedaspre-

posterousnonsense:statementstotheeffectthatthetonewas some-

thingwhichwhirledaroundandshotout indifferentdirections

.accordingtothe pitch.H erwritingsgivetheimpressionof some-

onewhohadpipedreams.Theyaresimilar tothewritingsof an

individualwho,k

writeate

tboo

nowingnothingofelectricityorradio,tried to

abou tradio,u singhisim a g i ntai o n , ad nh i s i m a g-i

nationalone,topropoundhistheories.Unfortunately,thenonsense

writtenaboutvoicebythise

-greatsingerhashada profound

effc e t o n v o c a l taec h i n galloverthew orld.Seriousscin e t i sstd o n

readbo

s a b o u t sni g i n g  s o t h i s t e a c hrew a s n e v ret a

antastictheories,comingfromsoimpressiveasource,deeply

279

t

entotas

.

                                                                                                                                                                                                                                                                                                                                                                                                 



 

    

                                                                                                                                                                   

affectedthevocalteachersandstudentswhocameunder hersway

orwhored aherboo

s,becu aseths ee i n d i ivd u aslk

n e w n toh i n g o f

sciencethemselvesandhadnomeansofgauging theactualmerit

ofhertheories.H

ersuccesswasoverwhelming.H undredsofvoice

studn e t s f l o c e d t o h e r s t uido f r o m al lo v e r t h e w rol d . E v e r y o n e

whostu d i e d wtih h e r w a s mroe o r l e s s i n

uredvc o a l l y b y hrew o r

veryvoicewhichshetraineddeteriorated.E

.

verygreatartist

whofellintoherhands wasforcedtoretirefromthe stagewhile

heorshewas stillrelativelyyoung.Manyvictimsofthisteaching

aretodaylivinginretirement,andthese artistswouldstillbesing-

ingiftheyhad beentrainedproperly.Despiteallthis,Lilli Leh-

mannli

edabigtonean dshewan t e d h e r p uipl s t o b e h e rad

whentheysanginan auditorium.F orthisreasonseveralof her

artistpupilsdidsucceed

despitethefactthattheir careerswereso

pitifullycurtailed.

ing i n gni t h e M as

Thetwoteachersj

m a i nd ef o r J

ue

ustdiscusseddida greatdealofharm,butit re-

eanDeResz

e  t h e g r e a t F r e n c h t e n ro t o s t r i

e t h e f i n la

blowwhichhasbeenthemain causeofthevirtualeliminationofall

greatvoicesfromtheworldtoday.

WhenJ

eanDeResz

e l o s t h i s v oci e i t b e c a m e  a s d o t h o s e o f par c -

t i c a lyl a l l F r e n c h menwh o l o s e t h eriv o i c e s"

w h i t,e


nasal.H e,therefore,e

t h r otay a n d v eyr

                                                                                                                                                                                                                                                                            

periencedadefinitesensationofnasality of

somethinghappeninginthefrontofhis face.H ebasedhistechnical

theoriesuponthissensation,whichwassolelya manifestationofthetech-

nicalfu alts(th r o a tni e s s , j a w - l o c

andnec

t e n soi n ) w hci h h a d d e -

s t r oe y d h i s v oci e . H e d i d n o t c a l l t h i s s e n satin o n a s ai lt y

fancyp h r a s e froi t : "


thissillyphrasetoo

ue.

hecoin eda

orsomeob scurera eson

anoverwhelmingholduponthepopularimagination.

tbecameastandardideafor voicetrainingeverywhere.Tothisday

thema

o r i t y o f taec h esre i t h e r dfei n i tley p r o fses t o t e a c h te hD e R

esz

e

method,oremployamethodwhichissimilar toitand,therefore,the

outcomeofhisideas.

L e t u s c o nisd e r e

fthej

actlyw h a t " s i n gni g i n t h e m a s

awisrela

ue

r e a lyl m e a n.s

ed,drp o p e d i not t h e m i dlde p o s iito n a n d t hn es t u c

_

outalittleand tensed,thisstateoftensionmaybe reflectedtothefront

o f t h e f ae c , s o t h a t a d fei n i t ee s n s aito n i s e

pupilestablishesthisconditionofj

a c t u lal y : " F

perin ecedatth enose.I fthe

awtensionandthensings,he will

eelsom e t h ig nh a p p n e i n g i n t h e for n t o f h i s f c ae .

T h i s i s n to

aphenomenonofresonance.Therearenoresonancecavitiesabove,or

i n f r o n t o, ft h e p h ayr n

 l a r y n g ela, o r a l a n d n a s a l . A r e s oa nn c e c aivt y

mustbeanair cavity,withrelativelyhardwalls,whichcanbe shaped,

or"

t u n e,d

forthers eo n aito n o f t h e tn oe  p i t c h a n d vw o el.Suchacavity

must,then,becapableofassuminga widevarietyofchangesinsize

andshape,ifiti stoactas aresonatorofthevoice.The pharyngeal

280



  



    

cavities,whichareemployedwhenthetechnicis correct,arej

ustsuch

cavities.Themouthcavityalsocanbe shaped,andisemployedwhen

thetechnicisthroatyand thepharyn

isconstrictedand,therefore,

eliminatedasaresonancecavity.Thenasalcavitycannot betunedor

ad

usted.F

urthermore,itisheavilylinedwithsoft foldsofmucous

membrane,foldsofsoftfleshwhichhaveso greatadampingeffect

that,evenifthiscavity couldbeshaped,itcouldnever actasanefficient

resonator.Thefrontalsinusisa small,fi

torisso completelyoutoftheq

seriously.R eferencetoF

ofthelineA

ofthes

edcavity,anditsuse asaresona-

uestionthatoneneedhardlyconsiderit

ig.37willshowthat thereisnocavityin front

-B,whichcouldpossiblybeused asaresonator.Thecavity

ullisfilledwith brainsandisnot,therefore,an aircavity.No

Thereisdefinitelynoresonancecavityin thefrontofthe face,or"

them as

in

                                                                                                                                                                            

ue.

ig.37ResonanceCavities

Thisillustrationclearlyindicatestheutter absurdityoftheideathatthe

voicesh ouldbers eo n tae d , " f o c u s s e d , "

f a c e ,ht e n o s e o r t h e"

mas

ue

placd e

or"

felt inthefrontofthe

i.e.,infron tofthelineA B.

twillbesen ethatthens aa l c a vtiy i s l i n e d w iththic

f o l d s o f sfot m u c u os

  

membranewhichwouldactasahighly efficientdampingmaterial.Thefrontal

sinusisa smallcavitytoosmall toactasan importantresonatorandthetop

oftheheadis filledwithbrains,asoft,highly absorbentmaterial.F urther-


more,neitherthenasalcavity,thesinus northeheadcanchangetheir sizeor

s h a p e ro, i n o t h e r w o r d s , te hy c a n n otbe"

tuned .

   

T h u s ,ht e r e i s n o c aivt y i n

thefrontoftheface whichcouldpossiblyactasa resonatorofthetone.

Thebonystructureofthe noseorforeheadmightactas anefficientsound-

ingboardifthe vocalcordswereattachedthere.H

owever,thelaryn

is

actuallysuspendedfromthehyoidboneandis inthethroat.

Thefrontoftheface couldbeusedas asoundingboard,ifthevocal

cordswererigidlyattachedtoit. Buttoaccomplishthisthelaryn

wouldhavetobeamputatedandgraftedon somewherebehindthenose

"

281

i nh t em as

ue

                                                                                                                                                                                                                                 

Thesensationofthevoicebeing

inthemas

t r a nm s i s soi n e f f c et b r o u g htabou tbyane

bythenec

Thisnec

ue,

isthenmerelya

t r e m e j a w -ol c

andhelp ed

t e n soi n w h i c h cn ot r oslt h e t e c h n icofthe" mas

ue

s i n g re.

tensionisdeliberatelyengendered,bytheteachersofthis

school,bothfromaboveandfrombelow.A

sarule thepupilsofthis

schoolofteachingdeliberatelydroptheirheadsto guidethevoice"

a n d o v re

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intothe"mas

ue.

up

T h e y fot e n a c o cmpn a y t h i s f row a r d n ad

downmovementoftheheadwithacircular gestureofthehandwhich

goesinan d o u t i n a s e m ic- i r c l .eA

maticallythrowthenec

stheyma

ethesegs et u r s e, t h e y a u to-

musclesintotensionfromabove.

i n g esro f t h i s s c hool a r e o f tn et a u g h t " b r e a t h c o n trol,

w h i c h gn e-

erallycentersupontheraisingof thechest.Theymaybetold tobreathe

withthediaphragmandthendrawthe breathupintothechest, which

mustberaisedanddistendedas muchaspossible.Thisraisingof the

chestbringsthenec

musclesintotensionfrombelow.Thedepressing

ofthechest,whichensuesas theystarttophonate,blowsthebreathout

throughtheconstriction,whichhasbeencompletelyestablishedby

mean softheloc

ingofthej

awandth etensin gofthenec

m u s cel s ,

beforephonation.Thesesingerswill,then,veryeasilyandcompletely,

e

periencethesensationofsomethinghappeninginthefront ofthe

face,n adthesen satin othuseng e n d eer d i s w h a t " s i n g i n g i n t h e m as

ue

reallymeans.


Thereisonefurtherpoint whichrendersthisprocedureparticularly

pernicious:Thepronouncedtensionwhichoccursonthe sterno-mastoid

musclestransmitsthesound,withgreatefficiency,directlyinto thesinger

owninn erear.(

eeF

andten siononthen ec

igs.2

&

andj

s

27.)Witheachin c r e ae s i n t h r o ai tn e s s

a w m u s lce s , h e haer s w h tas e e m s t o hm i

tobeanincreasei ntherichnessandmellownessofthe tone.This,de-

spitethefactthat whatheisreallyhearingis merelyaugmented

throatiness.

We find,then,thismostunfortunatestateofaffairs:A

schoolofvocal

trainingwhichaimsata definiteeasilyattainedsensationwhichmerely

determinestheestablishmentofabsolutethroatinessplusanapparent

imprv o e mn et i n q

u a l iyt t o t h e p u pl i

sownear.h T e v i c tm i s o f t h i s sh cool

ofteachingcandefinitelyfeelandhear themselvesreachingthegoal.

Theycan,apparently,definitelyheartheirownvoicesimprovingin

u a l iyt . I

t i s , i n d ed e, d i fifc u l t f o r n a y o n eot c o n v icne t h e p u pl io f a

s i n gni g i n t h e m a s

ue

teach er thathi so v i c e i s d eet r i oar t i n g ad nt h a t

t h e t h eroy u p o n wihc h h i s t e c a h e r w ro

sismerelyin uriou snonsn ese.

Thesestudentsoftenbecomesoconceited,astheyhear theapparently

increasedrichnessinthetones theyareproducing,thattheyareutterly

unmovedbyanystatementofthescientificfacts ofthecase.Thisconceit

isencouragedbytheteacher,whosechiefmethodof holdinghispupils

isoftenthroughthisvery emotion.

t i s d i f f iu clttotell"mas

ue

s i n g res t h a t w h a t t h e y aer c o n v icne d i s

aglorious,mellowvoice,ismerelya nasal,throatynoise,andthata

greatdealofhardwor

m ustbedonetoeliminatethe verycondition

whichtheyhavespentsomuch timeandmoneytoattain thatthey

muststartalloveragain andteardownthethroatinesswhichhas been

builtup thattheirvoicesarenot great.

Buteitherscience iswrong,theirvoicesareglorious andtheir

282



  



    

teachersareright

orscienceisr ightandtheyhavetotear downtheir

e n t ier t e c h nci a n d b u i l d i t u p g a a i n b y p tai e n t h rad w o r

blowtoth e i r s e ne s o f v a n iyt

Thin

.Thin

ofthe

o f t h e w rol d o f h o p e w hichws a

builtupandwhichmust inevitablycomecrashingtopiecesundertheir

feetlNo

A

s a r u l e t h e v i ci tm o f a "

s i n gni g i n t h e m a s

ue

t e a c h e r n eevr

realizeswhatishappeningtohis voiceuntilheis actuallyunableto

goonsing i n g . T hsim a y o c cruv e r y s o n o,orhemaybeb aletoma

e

somesortofsoundfor severalyears,beforeherealizesthetrapinto

whichhehasfallen.Thenit maybetoolate

Thisschoolofteachingis renderedevenmorevirulenttodaythanit

wasafewyearsago,beforethe radioandmoviesbecamesoprominent.

nthosedy a s a s i n g reh a d t o b e a u dbi l e i n a t h e tae r . I

toowea

f h i s v o ie cwas

tocarryinan auditorium,hecouldnotbea professionalsinger.

Todayanindividualwithavoiceso constrictedand"

shutoff

thatitcan

hardlybeheardacrossa room,maybeabigsuccess overtheradioand

inH

ollywood,ifhecanputhis wordsacrossnicelyandhasa pleasing

personality.S omeofthehighestpaidsingers oftodayaremerecrooners.

ThethreeoutstandingbaritonesinA

mericatodayspea

atan

                                                                                                                                                   

actuallyhigherintensitylevelthantheone theyattainwhenthey

sing.Beforetheeraofreproductiontheycould nothavebeeneven

passablysuccessfulprofessionalsingers,withtheirvoicesasshut off

astheyaretoday,althoughall threeofthemoriginallyhadq


uite

finevoices.Thefactthatcertain,very throatysingershavebeen

engagedtosingleadingrolesat theMetropolitandoesnothelp

matters

Theyare,ofcourse,completelyineffectiveandalmost

entirelyinaudible,buttheyareactuallyappearingat thegreatest

operahouseintheworld

Thirtyyearsagothesesingerswouldnot

havebeenconsideredgoodenoughtosingleads inoperettas

Thus,thestruggletoeliminatethis typeofphysicallyharmful

anddecadentteachingisbecomingincreasinglydifficultto win.

Nevertheless,themomentthepublichearsthesingerwith aneven

half-wayfreevoice,theyloveit.I

foneofthe greatsingersofthe

pastweretoappearat theMetropolitantodayhewouldcreatean

overwhelmingsensation.Thepublicdoesk

ithearsone.A

todayarethetwomostsuccessful.F

don

nowagoodvoicewhen

ctuallythetwobiggestandbest voicesintheworld

urthermore,throatysingers

tlastverylong,either physicallyorinthepublic fancy.Their

careersare,asarule, e

tremelylimitedevenwhentheyareable

togoonsinging.

Therearemanyvariationsofthis"

ue

idea.

orinstn ace,th e r e i s t h e n toi o n o f " f o c u s s i n g t h evoice

singinginthemas

inthe

frontoftheface,the noseortheforehead.Thisis muchthesame

thingcouchedindifferentterms.Thenthere istheideaof the

c o v ree d t o n s e,

or"

headtn oes.

Thesen satin o s w h i c hht e s e f i g ura-

tivephrasesengenderalsooccuras aresultoftensionon the

283

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                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                            

aw,bu t i n s o m e c ae ss,thistn e s i o n i s nto

ue

o r t h e n oe s.

and"

covered

tones.The

tons eu p t o a b o u t D ( f u orthlin e

flat,andthentocover thehighertones.

opentn oe

d o e s n tom e a n a t o n e s u n g w iht t h e

throatopenandwiththemuscles ofthetongueinproper tension

butratheritind icats ea "

w h i t,e

s h o uyt

tonewh ichcann otbe

carriedupandwhichis actuallydefinitelythroaty.The"

tone

covered

mustth e n b e e m pol y e d a t t h epitch(b aoutEbonthetop

s p a c e o fht e t r e bel c l e f ) a t w h i c h t h e s oc-a l l e d " o p e n t o n e

shoutytobesingable.The"

coveredtone

istoo

sensationisbroughtabout

bydeliberatelyincreasingthetensiononthe musclesofthej

andnec

aw

and,atth esametim e,byrela ingtheton g u e m ucsl e s .

Thispermitsthetonguetodrop andthencomeintoconstrictor

tensioninthedroppedposition.Thistype oftechnicengendersever-

increasingthroatinesswhilethepupilis singingand,atthesame

time,continuallybrea

sthemelodicline.

Thereisanothersimilarschoolof thoughtwhichtellsthepupil

to"

feelth e t o n e a se cndhigh erinthehed a

asheascn edsthe

scale.Theteachersofthisschool sometimesendeavortoengender

whatth eycallan"evenscale

i n w h i c h lal t h e t o n s eh a v e e


ual

loudn e s s . Mn ay p u p islo f t h i s , a n d o f t h e " s i n g ig ni n t h e m a s

ue

schools,aretolddeliberatelytosoftenthe highertonesasthey

ascendthescale.Thisdirectionresults inaverypronounced

augmentationinthedegreeofconstrictionas theyascendthe

s c a l ,ei . e . , foj

awloc

andnec

t e n soi n . M otst e a c h e r s t e l l t hn e-

pupilsthattheirthroatsmust berela

upn o a r eal

edj

aw.

ed.Nearlyalloftheminsist

f t hsi w er e t o m e a n a er l a

ednc e

 n o t t hr o ta

the underlyingideawouldbecorrect.Unfortunately,however,

theydoactuallymeanthethroat(or tongue),becausetheseteachers

generallytelltheirpupilsto shapetheirmouthsforthevowels.

o m e o f t hm e e v e n g o s o fraa s t o i n s t r u ctthemtoma emovem ents

o f t h e i r haed s t o " r e l a

rela

thethra ot.

u c h m oevm e n t s d o i n d ed e

themusclesofthetonguewhich shouldbetensed,and,at

thesametime,theybringthe nec

ofarela

edj

musclesintotension.Theidea

awmig h t b e a g o o d o n efii t m e a n t p u ttingth ej

outofaction.Unfortunately,itgenerallymeanshangingitli

idiotinth emiddlep o s i t in o. (

ofthej

e e F i g . 2 9).T h i s t y p e for e l a

awalw aysman i f e ssti t s e l f s aa n e

tremej awloc

t i s e a s y t o l e ran h o w t o " s i n g i n t h e m a s

ue.

aw

ean

ation

.

ftheread e r w a nst

tosingin completeconstriction,withasmall,shutoff,throatyvoice

whichmightbeusedoverthe radioorinthe movies,andwhich

284





 

    

soundsperfectlylovelytohisownear, itisq

uiteunnecessaryfor

himtopaya teachertolearnthistechnic.

ecanteachhimself,

withoutspendingapenny,byfollowingafewsimpledirections.

nyonewhopaystolearnthis technicisveryfoolish.

emem b e r , t hsit e c h nci i s e

shouldbeused.I

actlyth e r e v esre f r o m t h e o n e w hci h

tisa formofwhistlingratherthanof legitimatesinging.

Theproblemisoneof co-ordinatingtheconstrictormuscleswithpho-

nationandofdevelopingthemtothe properdegreenottoo much.

romthisp o i n t o f v iw e t h e p r oe c s s i s q u i t e d iffe r n etfromth atof

legitimatevocaldevelopmentbecause,whenthesemusclesbecome

toostrong,thevoicedisappears.H

intensity.A

ence,allsingingmustbedone atlow

nyhow,itisfarbetterfor thesingerwhoemploysthistechnic

nevertoattempttosing loudly,becausealltonessungaboveacertain

intensitybecomeunpleasanttolistentoand arenearlyalwaysoffpitch.

Therearetwomethodsofestablishingthistechnic: With thefirst,

whichisgenerallyemployedbyteachersoftoday,the registrationaction

isdisregarded,withtheresultthat thevoiceisof limitedrange.W ith

thesecondmethod,whichemploystheregistrationaction,afar more

interestingresultcanbeobtained,becausean e

tremelywiderange

canbedeveloped.

Thefirstmethodisvery simpleindeed.Thechiefgoalisthe attain-

mentofcompletenec

-musclecontrol.Thismaybeaccomplishedwith


orwithoutthein

ectionofdeliberatenasalityinthe tone.

Thefirststepis theattainmentofanabsolutej

(

mas

u e s i n gni g

)isdesird e,thej

awloc

.I

fnasality

a w i s f i rtsr e l a

t h e m i dlde p o s iito n ( s e e F i g . 2 9 ) a n d t h n estuc

edanddrp o p e d i not

o u t a l i t tel a n d t e ne sd.

Thistensionisthendirected tothefrontof theface,orthenose.The

nostrilsmaybedilatedto conveytheideaofsomethinghappeningin

t h e n o s.eI

fthe"

h e a d vioc e

t y p e o f sni g i n g ( w h i c h i s t h raot y , b u tnot

deliberatelynasal)isdesired,thej

(loc

) p o s i t in oa n d t e n e sd.I

awismerelydroppedintothe middle

fathic

( s o -a clledcn o t r atlo o r b a r iot n e

u a l iyt ) i s d e s ier d , t h e j a w i s d r o p e d i n t o te h"

in(orbac

(

loc

"

p o s iito n , p ul le d

)alittle andtensed,andthetongueis swallowed(dropped).

eeFig.12B .)

Thesecondstepengendersthedevelopmentandco-ordinationofthe

nec

mu scleswithphonation.Thisisaccomplishedonlytoo easily.The

nec

m u s t b e so hr t e n e d . T h e tn es i o n o f te hn e c

m u s lce s c a n b e i n d uced

fromabovebydroppingthehead,andit isaugmentedwhenthehead

isstuc

o u t o r p u lel d b a c

e

c e s svi e l .yI

tcanbeindu cedfromb elow

bymeansofthechest andshoulders,whichmustberaisedand tensed.

Thisraisingof,andtensionon, thechestservesadoublepurpose,because

itisalsoimp o r t atni n "

b r e aht c o n t r lo.

chestmusclesintoactionis firsttota

asfardownaspossible ande

T h e b etsm e t h d o o f b r i n gni g t h e

eadeepbreath,filling thelungs

pandingthelowerribsandthe diaphragm,

andthn e , a f t ret h e b r e aht h a s b e e n t a e n i n t h i s m n a n e r ,ot p u l l i n

thediaphragmandraisethechest,thus forcingthebreathupinto it.

(

e e F i g . 2 4 C . ) T h i s c o m pel t e l y r lee ae sstheinsp i r a t roy t e niso n a n d i n -

suresth eprodu c t i o n o f a t oe ns u n g o n a f o r e cde

breath

285

).H

                                            

p i r aito n (

onthe

avinginspiredthebreathandraisedhis chestandshoulders,

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thesingershouldpausea momenttoestablishtensiononthemuscles

ofthesemembers.H

eshouldthenstartto singbyblowingouttheair

withthechest,whichis slowlyforcedinanddownas hesustainsthe

tone.

Thetoneshouldbestartedsofdyand swelledalittleasit isheld,by

deliberatelyblowingoutmoreairwiththe chestNoattemptshouldbe

madetosinga reallyloudtoneit shouldonlybeswelledalittle.

ow-

ever,theswellingactionisimportant,becauseit establishesthefeeling

o f t h e v oci e b e i n g d r i v e n b y (ro"

on

) t h e b r e aht , a n d a loso f t h e c o nrto l

ofintensitybymeansofconstrictionof thethroatandofthe rateof

e

p u l soi n o f t h e b raet h . T h isisk

e

ercises,withoutsinging,mayhelpsomewhatintheattainmentof

n o w n a s " b r e a t h c o nrto l .

B r e tah i n g

b r e aht c o n t rlo.

t i s u n d e sria b l e frot h e "

mas

ue

s i n g ret o a t t e m p t t o c e n trep i t c h ,

becauseslurringintothetonehelps toengenderthesensationofnec

controlandbreathcontrol.Mostof theso-calledemotionalandinterpre-

tiveeffectsemployedinthisschoolof singingdependprimarilyupon

deliberateslurring.

ingletones,producedinthisfashion,which areswelledintoand

decrescendoed,maybepractisedwithbeneficial(

)results.Thetones

shouldallbeconnectedon aslide.Noattemptneedeverbe madetomove

fromth ecenterofn oetonetoth e c e n t reo f a n o t hre

isq


e

a c t m uisc a l f om r

uiteunimportant.

Thevowelsusedmayalsobevaried.I

white

ee

tisprobablybestto startwitha

vow e l . F o r t h i s v o w e l t h e j a w m utsb e c o m p ltee l y l o c

inthemiddleposition,andthe lipsdeliberatelyspread.The"

ah

m a y a lo sbeused,w iththemu o t h c a r feu l l ye stinthe" white "

position.A

oo

ed

white

ah

con siderableamountofpracticeshouldbedone withthe

v o w le, w h i h cmustbesun g w i t h t h e lpi s p u r s d eupandcom p l e t ley

c o v eirn g t h e t e t h  i n t h e " o o

b e p r a cits e d t o etsa b l ihst h e j

mouthp o s i t in o. H u m m i n g m a y aslo

awloc

withthejawclosed.Allthemouth

positionsforthedifferentvowelscanbe carefullysetandpractised.

Theintensityshouldnotrisemore thanisabsolutelyunavoidable,with

thepitch.Thehighertonesshould besungsofdynot loudly.

n t h e c a s e o f a b rai t o n eorabass,andv e e n a t e nro, t h e s oc- a l l e d

open

(shou ty)tonem aybesun g o c c a soi n a lyl u p t o a b o u t D ( n othe

fourthlineofthetreble clef),butthisrelativelyloudeffect shouldnot

beemployedtoooftenorthe nec

muscleswilltendtooverdevelop,with

theresultthatthe voicewillshutoffaltogether.Thisis trueofallloud

singing.A

talltimesthe singermusthavethefeelingofbeing ableto

h o l d h i s vioc e w i t h hsin e c

ands

u e e z eht e i n t e n sityinan dout.

Thisentireprocessis soeasilylearnedthatcomplete'

bedevelopedifthepupilis

controlcansoon

willingtopractiseeverydayfor ashorttime.

Prolongedperiodsofpracticeshouldnotbe indulgedin,becausethe

entireprocedureisin

urioustothevocalapparatus.Periodsof complete

silence,sometimesforseveraldaysorwee

s,whenthevoiceis beginning

toshutoffaltogether,arebeneficial.Nevertheless,e

ercisesforestablish-

ingthisunnatural,constrictedconditionmustalwaysbe practisedbefore

thesingerattemptstoperform.

ThelongscaleofLilli

Lehmannisagoode

erciseforestablishingthe

necessaryconstrictortensionstopreparethevoicefor throatysinging.

28



  



    

                         

Thise

erciseissungwithoutanyparticular attentiontoaccurateintona-

tion.Thetonesmaybeslid together.

ela

a t i o n fot h e g e n i-og l ossu s m ucs l e  t h e m u s lce a t t h e b ae softhe

tongueandof thegenio-hyoidmuscle(seeF

ig.4)whichaccompanies

constrictionofthethroat,is essential,notonlytoestablishtheconstriction,

butalsobecauseatremolois necessaryifthetoneis tosoundpretty.

Thistremoloactionisactuatedby meansofaflutterof thebaseofthe

tongu e.Runsandothere

e r c ie s s m a y b e par c t i sd eo n t h i s f l utte r , o r

tremolo,action.Thistypeofmovementisthestoc

-in-tradeoftheso-

calledcoloraturasopranooftheday.

Thisthroaty,tremolotonemustneverbesung loudly,becausewhen

itisswelledthe narrow,rapidtremolobecomesadisagreeablewobble

andtherg e i s t rtai o n b e o cmesmi ed.Them i

isverymuchoffk

e d r e g itse r , w b oblin gtone

ey,whilethelittle,flutteringtremolotonesoundson

eyit isseldomreallytrueto pitch.Manycoloraturaspulltheirheadsin

andsideways,aswellasdown,toestablish theconstrictionnec

ent

sion.Thesidewayspullisundesirablebecausethe constrictoractionon

thelaryn

istherebyrenderedunevenandit isapttobring aboutthe

earlydevelopmentofnodulesonthevocalcords.The staccatoisaccom-

plishedbymeansoftheestablishmentofa verycompleteconstriction,

whichmustbesetbeforehand.W

henthenecessarypre-tensionhasbeen

estab lishd e,theton e m u s t b e d lei b ear t e l y " s

uea


ed

i n t h e f a le stto

register,withtheheadpulledin anddown.

Mostofthesalientpoints havebeencoveredfortheattainmentofa

technicwhichisalmostuniversallytaughttoday

unmu sicalan de

theintensityisk

trem elyin

itisentirelyinartistic,

uriou s p h y s ia c l l y . I t i s l e a s t h ram f u lwhen

eptverylowandwhenan amplifierisusedtobuild

uptheintensityartificially.Theso-called"

radiotechnic

restsuponthis

typeofsinging,whentheintensityis reducedtothelowestpossible

level.I

tisthe automatic,rapidflutterofthetongue,whichis employed

toengenderthetremolo,thatma

esthistypeof singingacceptableto

thelistener.

Thesecondmethodis,inmanyways,far moreefficient,althoughitis

moreharmfulphysically.With thismethodthevoiceis registeredand

t h e r e gsit e r s aer t h e n c o m p l e tley b l e n d edandmi

ed.I

fthistech nicis

masteredcompletely,thesingercanvirtuallyneverlearnto singlegiti-

mately.

Thelowerregisterisisolatedand carriedupby"

whitening

lettingitbecomeincreasinglythroaty,pinchedand"

white

itand

asthepitch

rises.Theintensitymustnotrise, butratherdiminish,ifpossible,as

thepitchrises.I

tisoftenhelpfulfor thesingertopresshis tongueagainst

h i s l o wret e e t h , b e c a ue sthisaidsinth e a t t ani m e n tofa"

w h iet ,

very

throatytoneandhelpstoestablish intenseconstriction.Thelipsare

spred a i n a g r i n , w iht m o s t o f t h e u p p e r t eteh s h o w ing(seeFig.30A

)

inordertoset themouthpositionforthenecessarydegreeof throaty

w h i tn ee s s .

T h i s t hni , "

w h iet ,

t h r o tay , l o w er-rg e i s t ret o n e i s e s tb al i s h ed.

andthn ecarriedu p a s f a r a s p o sisb l e w iht b o t h s e

a b l e t o r ecah h i g h C w i t h t h istypeofth r o a t,y"

e s . W o m e n a r e otfe n

w h iet ,

mi

e d l o w re-

registertechnic.Thefalsettoregisteris thenderivedfromthislower

registerandmadetomatchit inintensity.Becauseafalsettotonemaybe

sunganoctavehigherthanthe highestlower-registertone,e

287

tremely

        

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



 

    

high(ab s o l uet l y m i

e d ) f asle t t o s

uea

iscarrieddownandpushed(swelled)a littleindescent,toj

thealreadyestablished,"

white,

oinitin with

thin,throatylowerregister.Thetwo

registersmaythenbeblendedbys

r e g itse r a n d b y c h o

                                                                                                                                                                                                                                                                                                                                                       

s m a y b e r e ah c e d . Te hf a l s etto

ueezingthefalsettointothelower

ingoffth elowerrg e i s t rei n t o t h e f las e tot . O f c o u re s,

alltheconstrictoractionsmust becompletelyestablished.Menshould

p r a cits e v e r y h i g h f a le s t t o t oe ns ( a b oevh i g h C ) o n a w h i t e "

withthejawloc

e

v o wle

e d a n d t h e lpi s s p r ed a. T h e e s t o n e s myab e s u n g f aril y

l o u dyl , b u t t h y emus tno tb e p u s h e d ro"

f a l s tet o

ee

dar

ened.

G o i n g trho u g h t h e

e r c i sses h o u l d b e par c t ie s d b y b o t h s e e s . T h e flas e tot t o n e

shu o l d be s u n g o n a " w h ie t

ah, "

ay

or"ee

vow elan ds

u e zee d ni t o

thelowerregisteronthe sametone,andthelowerregistershouldbe

w h i tn ee d

tomi

i t w i t h t h eaf l s etto . I

t h e f a le s t t o wtih a w h i t e " e e

thetrebleclef),F

t i s a g o o d p l a n t o par c t ie ssingin g

v o wleo n t h e t o n s eF

sharpandGratherloudly,withthe

(onthetp olineof

limitationsof

loudnessdeterminedbytheconstriction,andthento practisesingingthe

lowerregisteratthesamepitch, onthesamevowels,ataboutthe same

intensity.

A

relativelyshortperiodofpracticewill soonenablethesingerto

completelyblendormi

theregisters.H

e,orshe,willthen haveattained

theabilitytocovera rangeofthree,orevenfour,octaveswith alittle

t h r o tay , m i

e d - rg ei s t re"

s

uea

voice.

H


e h a s n o w l eran e d h o wot s i n g

pianissimoasmuchandasoften ashemaydesireto doso.Thisseems

tobethegoal ofsomanyteacherstoday.

Themethodj

ustindicatedisthe bestproceduretoadoptifthis isthe

goaldesiredbythevocalstudent.R

emember,thethroatierthevoice

becomesthebetter,orricher,it soundstothesingerhimself,andthe

m o r e d fei n iet l y c a n h e f e l i t "

B u t ples ae d n o

inthemas ue.

tdoit I

i n t epr r e t ievo r m u s i a clvalue I

t o t h e v oa c l a p p raa t u s

t i s n ot s i ng i n g

te

t i s n toa r t I

p r e se ssnoth ing I

thasn o

t i s h a r m flu

v e r y s ig ne r w h o i n dulgs ei n t h i s t y p e fo

technic,deterioratesvocally,andevenaslightelementof thissort

ofthingina singer

stechnicinevitablyeliminatesthevoiceby the

              

timeheorshe hasattainedmiddleage.Thus,areallytalented

                                                                                                                                                                                                

individual,whosevoicehasbeenonlypartiallyshutoff bybad

training,losesitatj

a m a t uer d a r t its. I

ustabouttheagewhenhe shouldhavebecome

tta

e s m a n ye y a r s t o atta i n t hsig o a l . N o oe n

underfortycouldpossiblyhavedonethe necessarywor

c l a se sdasa"

Today

tobe

g r e a t atri s t .

spitifullac

ofgreatsingersisdue tothefactthat, asa

resultofwrongtrainingmethods,practicallyeverysingerstarts to

l o s e h i s vioc e a t j

ustabu ottheagew henheshu oldbeatthepa e

ofhiscareer ifhehasnot lostitbeforehe hasreachedthisage.

Theyoungervoicesarethebest voices,becausetheconstrictor

actionhasnotyetdevelopedfarenoughto destroythem.These,

however,arerelativelyimmatureartists.Therearemanygreat

288





 

    

e

-singersstilllivingwhohavepassedright outofthepicture and

whowouldstillbesinging iftheyhadbeentrainedproperly.O

f

theoldersingers,whoarestill reasonablygoodvocally,thereare

onlythreeandtheirvoicesare deteriorating.

e g a ridn g t h e t e h cnicoftheb e s t l i vni g s o p r n ao:I

twouldhv ae

beeneasyforacompetentteacherto havemadethisartisteinto

asupremelygreatsingervocally.I

teach ertoma

tisfareasier foracompetent

e a f i n e v o ie c i n t o a g r e tao n e t h a n i t i s f roh i m t o

turnamediocrevoiceinto agoodone.A

natu rallytalentedbeginner

isveryeasytoteach, iftheproperprocedureis adopted.This

sopranocouldhavebeenmadeasgoodas Destinnvocallyifnot

better.Themainfaultinher technicliesina lac

oflower-register

developmentandco-ordination,withtheaccompanyinglac

of

pure,properlyresonated,highfalsettoandpianissimotones.I

fher

voiceweretoberegistered,it wouldbefoundthatshecould, in

herpresentvocalcondition,onlysingthe lowerregister,reallyopen,

uptoA

flat(secondspaceonthetreble clef)andthatabovethis

tonethisregisterwouldstartto shutoff.Thisshut-offlowerreg-

istercouldnotbe carriedaboveaboutC

laryngealcondition.I

orDin herpresent

ftheindicatedprocedurewereto beadopted

withthissinger,openlower-registertonescouldeasilybe carried

upthroughDandpossibly uptoF

.Underthesecircumstances


pure,wide-open,falsettotonescouldbecarriedupto highD,

orevenF

abovehighC

,andthefalsettotonesthus derived,

insteadofbeingscreamyandthin,wouldblossomout withaclear,

mellow,beautifulq uality.TheywouldreallyfilltheMetropolitan

p e r a H o u s e . F u r t h e r m roe , t h e etsa b lsih m etno f t h e p u r ,e"

falsettoregisterwouldsoonma

legitimate,"

open,

open ,

eitpossiblefor hertoproduce

pianissimotones.O fcourse,theproperbalancing

oftheregistersandthe attainmentofcompletepharyngealreso-

nancead

ustmentareessentialconcomitantsofthisdevelopment.

e r b r e aht i n g i s g o d . J

u s t o n e oht e r p o itnw o u l d h v ae t o b e

stressed,however,inorderthathertechnic mightbewor

edbut

properly.S hewouldhavetostop slurringaltogetherandlearn

h o w t o a tat c

i n t h e c e net r o f t h e p ict h a n d h o w t o cn on e c t h re

tonesproperly.

Thetenor

svoicewouldbesomewhathardertowor

thatofthesoprano,becausehepushes

outthan

uitebadly.Theactionof

thebreathingmusclesandthepushingaction wouldhavetobedealt

withverycarefully.H

isregistersarerelativelypurebut notco-

ordinated.A bsolutepharyngealresonancead

ustmentwouldhave

tobeattained.Nevertheless,itshouldbea relativelyeasymatter

toimprovethisvoiceveryradically.W

289

hetherornothe couldnow

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    

bemadein toasecon dC

                                                                                                                                                                                                        

arusom aybequestioned .H ecouldhv ae

been,ifhehadbeen trainedproperlyinthefirst place.

t i s d i f f iu clttothin

ofanyoth e r s i n grew h o w o udl n o t h a e v

togothrougha prolongedcourseoftraininginorder thatthey

mightreachtheheights.Practicallyeverylivingwomannowuses

thefalsettoonly,orthemi

edfalsettoand,whenthelowerregister

isused,itis notcarrieduphigh enoughtoreallyinfluencethevoice.

ftheothermalesingers therearefewwhosevoicesarenot

alreadyinadistressinglyhighdegree ofconstriction.S

omeofthem,

whoarerelativelyyoung,mightbecompletelyopenedupand

madeintogreatartists.A

llofthemcould beimmeasurablyim-

proved.Nevertheless,thepersistentuseofthemi

p i a nsis i m o fef e cst(

m e za zvoce

edfalsettofor

)has,inman y c a s e,si n t e ref r e d s o

seriouslywiththeregistrationactionthatmanyof themwouldhave

togothrougha relativelyprolongedprocessofisolationandpurifi-

cationoftheregistersbeforevery muchcouldbedone.Thetrain-

ingtheyhaveundergonehasservedonlyto destroytheproper

registrationactionandengenderconstrictionthroatiness.

c h o l ras h i p s

Thegreatestvoicesinthis country(andthesameisprobably

trueinEurope)haveb eensou ghtoutan dta

e n o v reb y t h e b i g

conservatories.Thesetalentedyoungstersoftenstartwithreally


fine,naturalmaterial.Thesearetheveryvoiceswhich aremost

in

uredbybadtraining.Thus,it hascomeaboutthatpractically

allofthemost talentedyoungsters,whoreceivescholarshipsfrom



thebigconservatories,are,innearlyeverycase,entirely eliminated,

becauseofthein

uriousvocaltrainingwhichtheyreceive.None

                                                                                                                                                           

oftheseinstitutionshaveeverturnedout evenapassablywell-

producedvoice.Thesingerswhodosurvivethe sortoftraining

whichtheseinstitutionsprovideareaptto bethosewhostartwith

rathermediocrenaturalvoices,becausethevoicewhichis already

somewhatconstrictedisnotsoapt tobeentirelyeliminatedby

t h e " s i n g ig ni n t h e m a s

opn e

ue

t y p e o f t rian i n g ,asisthenatu r a l l y fer e ,

v oci e .

cientificallyUnsoundC oncepts

Thefactremainsthatthefundamentalreasonwhysingingis

badlytaughtisbecausethevocal teachershavenok

so

nowledgeof

thenatureofthephenomenawithwhichthey aredealing.Many

ofthemcn o c e ievt h e v o i c e s aa "

290

strem a o f s o m teh i n g

w h ih c"

flow s

                                                

 

  



out

thin

andm ustb e"

ofitas"

d ie r cet d ,

f o cu s e sd

v o c lai z e d ber a t h .

o r " p l a c ed .

om eofth em

o m e o f t hm e b e l i eevt h a t t h e

airisblownfromthe lungsthroughtheglottis,andthat thisair

o r b r e aht  a f t e r p as i n g t hor u g h t h eal r y n

,becom e s t h e t o n.eO

f

course,ifthiswereso, thebreathwouldhavetotravelat thesame

speedassound 1100feetasecond(750miles perhour).This

w o udl i n d e e d b e a srto n g b lsat

i s . A c t u al ly t h e e nitr e i d e a fo"

t i s o b v i osuh o w i d i toi c t h i s n toi o n

v o i c e pal c e m ent

r e s t s pirm a rl iy

onthissortof concept.

omeimaginativeindividualsthin

t h tai s " w h i r il n g

or"spinn ing

ofthesoundassomething

li

e a s o tro f " c y c l n oe.

tionofthevoicebased onthistypeofpremisema

A

d e cs r pi -

esamusing

reading,butitis hardlyinaccordancewiththelaws ofacoustics.

LilliLehmann,Dr.F

ran

Miller,etc.,thoughtalongtheselines.

Theresultsoftheirteachingswere uniformlyunfortunate.

therteachers,whohavenoideawhateverofwhatresonanceis,

tal

of"

u s i n g a r eosn a n e ccavity or"

taincavity.S

s u c h a s t h e " f r o n t o f t h e f ae c,

bac

o f t h e h ed a,

put.

p l a cni g t h e v oci e

inacer-

omeoftheseindividualssubstituteapart ofthebody,

P u t tni g

amputatingthelaryn

"

t h e h e a,d

the"

h a r d p laa t e ,

t h e v oci e a n y w h e r e wu ol d , i f t a

e n l i t e rlal y , i m ply

andgraftingitthere.Becausetheycannot


reallymeanthis,theymustactuallybelievethat thisimaginary

streamofsomethingisdirectedinto acertainplaceandthen stic

there.Therearenosoundingboardsfor thevoice.I

culttoe

tal

p l a i n wa ht a n i n d iivd u a,lw h o d o s en

tk

s

tisindeeddiffi-

n o w w htah e i s

i n g a b otu, b e l i v ee s .

actsRegardin gS

"the

etc.,s at h e p l a c e w h e r e t h eo v i c e s hu ol d b e

ound

o u n d i s t rn as m itte d f r o mtis s o u r e c i n a l l d i r e tci o n.sI

ofalternatecompressionsande

t c o n s itss

pansionsoftheairparticles and

itisabsorbedand reflectedaccordingtothesurfaceswhichit

meets.Thus,asoftsurfacewillabsorb farmoresoundthanahard

one,butalternatelayersofhardand softmaterialconstituteahighly

                                                                                                                                                                                                                                                                                                         

efficientmediumfordamping,orabsorption,becausethesoundis

reflectedbac

wardandforwardbythehard surfacesthroughthe

softones.Thus,littlesoundcould betransmittedthroughthehead

becausethepressurepulsewouldhaveto passthroughthebrain

cavity,andthebrainis composedofsoft,absorbentmaterial.The

foldsofmucousmembraneliningthenoseare alsosoftand

h i g hyl a b s o re bn t . T h e s e n s tai o n o f " s i n g i n g f o r w ard,

mas

291

r

ue,

or"

inthe

isbroug htabou tonlybyten sionwh ichconn e c t s t hor u g h

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 

    

thej

                                                              

awtothebonesof theheadandface.Thistransmission,by

meansofj

awtension,isverymuchhelpedby tensiononthenec

muscles,which,whenhighlytensed,becomerelativelyefficient

transmittersofsound.S

uchatransmissioneffect,farfromamplifying

thesound,tendstodampenit andcutdowntheloudness.I

thas

nothingwhatevertodowithresonance.

LoudSinging

o m e t ecah e r s w h o u s e c u r rn et m e t h o d s o f v oci e t r a i n ingma

e

theirpupilssingloudly.This typeofloudsingingis broughtabout

bypushing,orforcing,thevoice withablastofbreath.The resultant

toneq

ualityisalwaysunpleasant,andtheresultsare evenmore

harmfulphysicallythanthoseengenderedbythemezza-voce

teacher,becausetheseteachersinevitablycreateaconditionof

mi

e d r e g itsr a toi n a n d i net n s e a citv e c o n s t r i cito n . I

t i s f a r e a s ire

t o t r a i n a p uipl w h o h a s j u s t a l i t t l e p i p i n g v ioc e , t h anonewhoh as

aloud,throaty,mi

ed-registervoice,becausethelattermustlearn

toeliminatetheconstrictoractionand establishpureregistration.

Theformermayoftenpresentmerelyastraightforwarddevelop-

mentproblem,whichcangenerallybewor

edoutsimply.The

bestmaterialofallis theunharmedvoicewhichhaspureregistra-

tionandcanproducefull tonesinthelowerregister andfalsetto

evenifthesetonesare somewhatcrude.


Dropp ed L arn y

Wrong

Thereisanotherveryin

uriousschoolofteachingwhichhas

beenfairlyprevalentinrecentyears.Teachersof thisschooldo

notholdthebeliefthat thevoiceshouldbe"

b u t t h e ytsa t e t h tai t s h o u l d b e"

b i n e t hsii d e a o f " s i n gni g i n t h e t hor a t

laryn

placedinthehead,

inthethra ot.

H o w e v e r , t hyec o m -

withth enotin othatthe

s h o udl b e d r o p p edasfarasps os i b l.eW h e n t h e l a r y n

isso

dropped,thehyoidboneandthetonguealso mustdescend.This

e n g ed ne r s a c o nidt i o n o f e

t h r o tai n ess.

trem e t h r o aitn e s s g e n e r a lyl "

thic

Thepup i l s o f t h ee steach e r s b e lei v e t h tat h e y e

perin ecethesn e s a toi n o f "

feelisthroatinessandnec

s i n gni g i n t h e i r t h roats

-

-

                                                                                                                                                              

 a l l t h e y r e al ly

                                                                                                                                 

tension.Thisschoolofteachinghas

eliminatedmanyfinevoices.





 

    

    oachesWho BecomeTeachers

Thevocalteacherwhoisproperlye

uippedtocarryonhis pro-

fessionmustnotonlyunderstandsingingandmusic butmustalso

betrainedinthe sciences.Theprinciplesofvocaltechniccannot

bedreamedorimaginedthey mustbeunderstood.

fcourse,thoseaccompanistswhoteachvocaltechnic,when

theyknownothin g a b o u t i,td o s o p u r eyl f o r t h e s a

theycanm a

ethevocalta echer

eofthemon ey

s f e e i s t w o t o fu or t i m e s t h atof

thecoach.Thus,theyteachsomethingtheydo notunderstand

insteadofteachingsomethingtheydounderstand coachingand

musicianshipmerelyforlucrativereasons.Thisis alsotrue

o f g r e tas i n g esr, w h o k n o w n o t h i n g o f s c i e ne c

andma

don

tmindin

Rela

uringth e i r p u pl is

voicestogetit.

a toi n F a l l a y c

Manyteachersbelievethatthesingershoulde

rela

t h e y t o oo culdcoc ah

e a n h o n etsl i v i n g buttheywantth emony ea n d t h e y

periencecomplete

ationduringphonation.Theyfailtorealizethe factthatthe

musclesusedinphonationmustbe tensed,andthatitis themuscles

w h i c h so hu l d n o t b e u s e d i n t h i s a tci o n w h ichshou ldbeasrela

ed

                                                                                                                                      

aspossible.Theseindividualsareunawareofthetruth ofthisvery

o b v iu os f a c t . A s a r e s u l t o f s u c h atte m psta t r e l a

a t i o n al ld r i v e a n d

energyareeliminatedandtheirpupilssing inabsolutecon-


striction.Thisproceduredoesnotactuallyengenderrela

 

ation,be-

causetheinterferingmusclescomeintoa highstateoftensionand

they,therefore,defeattheirownendthe attainmentofrela

ation.

Wheneveranyact isperformed,musclescomeintotension.I

t

                                                                                                                                                                                                                                                                                  

istheproperdevelopmentandco-ordinationofthesemuscleswhich

determineapropertechnic.F

ailuretorealizethisobviousfact is

mostunfortunate.

A

gestu r e d o e s n tor e l a

m u s cel s  i t t e n s e s t h em.Th us,thepu pil

whotenseshisshouldersandchest shouldbetoldtolet themdrop

a n d r e l a . H e s h o udl n o t b e a l l w o edtoma

i n o r d e r t o r lea

e g e s t uer s w i t h t h em,

them,b e c a uess u c h g e sut r e s w u o l d h ae ve

actly

theoppositeeffect.Theteacherwhotellshis pupilstomovethe

headup,downandsidewaystorela

themtotn e s e t h ier n e c

A

thethroatisonlyteaching

m u s cel s .

baseballplayerwillswinghisarm tolimberup.Thisswinging

e

ercisebringsthemuscleswhichhe isgoingtouse intotensionand

doesUm berthm e up.I

f h e d e s ier d t o r e l a

thesem uscls eh e w o u l d

notlimberthemup.Thus,swingingthe shouldersorarmstorela

293



  

    

themwouldonlyservetolimberthem upandpreparethemfor

co-ordinationinphonation.Thisis,ofcourse,entirelyundesirable.

Thepupilwhotensesundulybeforeand duringphonationmust

b e t o l d t o r lea

ma

a n d s t ad ns t i l l b eof r e h e s t rat s t o s i n g .H

eactie v g e s t uer s t o b r i n g b a o u t t hsis t a t e o f r lea

emem ber:Visible,e

la

emustnot

ation .

t e r n las i g n s o f effo r t a cut a l l y i n d i c aet r e -

ationofthemuscleswhichshouldbe intension.Thus,tension

o n t h e m ucs l e s o f t h e j a w , n e c

themusclesofthelaryn

rela

ed.Lac

, c h e s t , so hu l d res , e t c, .o c c u r s bcea u s e

,tongue,lowerribs,diaphragm,etc.,have

o f t h e n ee c s s ayr d r i v e m anifs et s i t s lef i n t e n soi n o n

t h e i n t ref e rni g m u s lce s . I

f t h e s i n grer e l a

estheton g u e m ucs l e s ,

whichshouldbeintension fortheresonationofthetone,he must

p e r f roc e t e neso t h e r m u s c l e s t h e m u s c l e s o fht e j

inordertoresonatethe vowelwiththemouth.I

hold

onthebra ethin g m u s c lse, h e i s f o r cd et o t e n s e t h echestand

shoulderstoforce,orblowout, ablastofair.This isj

teacherwhohaslosthis voicedoeshimself.H

t o d o i t , b y i ntsr u citn g t h e m t o " r e l a

chest.

rela

awandnc e

fhelosesthe

ustwhatthe

eteacheshispupils

t h e t h raot

a n d " r a i s e te h

Thesedirectionsautomaticallytendtoforcethepupil to

themuscleswhichshouldbein tensionandtotensethe inter-

feringmusclesandthemuscleswhichshould notfunctioninphona-

t i o n . S u c h a t e a c h red o e s n o t e n g e n drer e l a

sible

a t i o,nw h i c h i s i m pos-


hemerelybringsthewrongmusclesintotension.

Directionsregardingrela

ationandbreathcontroltendto rela

themusclesofthetongueand laryn

(sothatpitchdefinitionis

impossible)and,atthesametime,forcethe pupiltoblowout

theair.Thevoiceis notsomethingwhichisforced,blownoutor

drivenfrombelowit isaninstrumentin thethroat,whichmust

bebroughtintoaction

laryn

becauseoftensiononthemusclesof the

andtongue,andwhichisactuatedby thebreathpressure

whichoccurswhenthebreathingmuscleshold ine

aultyM e t h osdR

uilibrium.

esultinEarlyLossofVoice

neofthesaddestphasesof thiswholesituationliesin thefact

thatsingersoftodayactuallye

pecttolosetheir voicesbetween

theagesoffortyand fifty.Theydonotblametheirteacherswhen

t h i s l os o f v o i c e o c u r s . I n s t e d a , t h e y see

p h yisc a l e

Thereisstillanotherrather horrifyingaspecttothispicture.I

competentteachersadoptacertain"

alltheirpupils.A

pupil

set

n-

methodorprocedurewith

nysuchmethoddoesnoteliminateany ofthe

stechnicalfaults.Theresult ofthisisthat theyneverreally

improvethevoiceofanypupil whomaystudywiththem.A

294

p l a ntai o n.s

ctually,

                                                                                                                                                                                                                                                                                                                                                                        

                                                                                                        

   

 

    

  

Thesurvivorsallsoundverymuchthe same.S ocommonisthis

teachingthatthereisprobablynot onesopranoattheMetropolitan

todaywhodoesnotdeliberatelyspreadherlips andmoreorless

screamherhightones,andno livingsingerwhocanproducea

voce

ctually,allsoftsinging(or

mezza

)isdeliberatelyperformedonabsoluteconstriction.Now,

whenteachershavebeenshuttingoffvoices,afterthis fashion,for

anumberofyears,theyactuallycometo li

ethesoundofa throaty

tonebetterthanthatof awell-produced,free,"

open

one.They

cometoutterlydisregardpower,freedomandintonation.F

a m p l,e"

LittleWillie

frea

moreli

s

voice andq

t e a c h re*

uotedami

ore

d e sgi n a t d eC aruso

-

svoiceasa

e d -af l s etto t e n ro, w h o s o u n d s m uh c

eawomanthanaman,as thepossessoroftheidealtechnic.

r o m h i s erro n e u ospoin tofviewafre,"

onlya" frea

v o ie c

open,

v i r i l eo viceisnot

b u t a f o r cd eo n e . H e f a i l s t o o b s evr e t h e f a tc

thathispupilslose theirvoices,whilethesingerswhohave'

full,

freevoices,whichhavenotbeentamperedwith,survive.Thus,it is

thatthema

toli

orityofthevocalteachers oftodayhaveactuallycome

e,andintentionallyaimat,throatysinging.Theyeliminate

powerandfreedom,andintonationdeliberately.A

definespitchabsolutely.Theinstrumentis"

greatsinger

firmlystrung.


Prac-

ticallyeverysingertodaynotonlyslurs butactuallyfluttersthetone

whenheissupposedto besustainingit theinstrumentisnot

strun g

thepitchisnee v r r e a lyl d e f i n ed.I

ncom peten t t e a c hres

li

e t h i s f l utte r i n gnoisean d a c t u al ly d i s l i

e

e m pi lf i e d b yht e s i n gni g o f C a r u s o a n d D e sitn n .

Thereisaverysad parado

eadefind epitchas

whichspringsfromthisstateof

affairs.Thegreatconservatoriesgivescholarshipstoallthe best

naturalvoicestheycanfind.Theyawardthese scholarshipsfairly.

fterthesevoiceshaveundergoneafour-yearperiodof training

theyare,innearlyeverycase,shut-offand throaty.Manyofthese

graduatestudentswouldthenbeineligibleforthe scholarshipsto

whichtheirunspoiledvoicesentitledthem

theywouldnothave

beenchosenhadtheyoriginallysungwith thetechnictheyused

aftertheyhadundergonethecourseof training.Thus,asanoutcome

ofthetrainingmethodsemployed,thetalentedbeginnerslose

theirnaturalvoices.Nevertheless,theirteachersli

ethesoundof

thethroatytonesthattheyproduce,afterthey havebeentrained,

despitethefactthatthey originallychosethembecausetheirvoices

wererelativelyfreenotthroaty.

* TheS

NewYor

295

c i e ne cofV

o i c e ( tihr d e d i toi n ) , D u ogls aS

tanly e, C a r l F

i s h e,rI



                                                                                                                                                                                                                                                                                                                                                                                                                                                                               

theyruineveryfinenaturalvoicewhich theyendeavortotrain.

legitimatesoft,hightone.A

                               

nc.,

( p . 3 9.)



 

    

NaturalV

oicevs.Technic

fsi

s i n g res o f d i fef r e n t c lai b e r w e r e p l ae c d b e h id na s c r e e n

andmadetosinga seriesoftones,andif theirvoicesweretobe

udgedbyagroupof personswhowerenotvocalteachersor under

theinfluenceofvocalteachers,theywouldundoubtedlybegraded

correctly,accordingtotheiractualtechnical proficiency.A nyone,

withareasonablygoodear,canj

udgesingingwithouthavingany

specialk

f,however,thesesamesingerswere

tobej

nowledgeoftechnic.I

udgedbyagroupof vocalteachers,theymightbeclassed

thesamewayonthebasis oftheirnaturalvoices,buton thebasisof

their"

technic,

techn ic

theorderwouldprobablybereversed,because

h a s a c ta ul l y c o m e t o m e a n t h e cn ot r o l o f t h evoiceon

constriction.I

ncompetentvocalteacherschoose,butdon

tapprove

of,big,crude,free,naturalvoiceswhichthey woulddeliberately

proceedtoshutoff.S

uchvoicesgenerallypresentveryfinematerial

forthecom petn etteach er.I

tiseasyforsu chateach ertoma

crude,freetonebeautiful,andtobring itundercontrol.I

tisnot

e a s ,yf o r e v e n t h emosts

and"

illfu l t e a c h re, t o "

openup

ea

free

.

apretty,throatyvoice.

ocalTa echin gI

saProcessN otaMethd o

Theprocedureswhichhavebeenoutlineddonot constitutea

method.R ather,theyshouldshowhowtheparticularvocal prob-


lemsofeachindividualpupilmaybe diagnosedandhandled.The

train i n g p r oe cssishardw or

li

A

.Thepup i l m u s t w ro

a n d c o ne c n t rtae ,

e t h e t e ah cer,wh o m u s t p efro r c e rael l y u n d erstn adhissub

teach erwithasup e r f i ica l k n o wel d g e o f t h esub

d a n greo u s t h n atheonewh ok

ectisevn emore

n o w s n toh i n g ao bu t i t . T h e w or

outoftheproblemsof registration,fore

weaponfordevelopingthevoice.I

ect.

ing

ample,isamostpotent

f,however,theseproblemsare

incorrectlyhandled,thedestructiveeffectisterrible.Pharyngeal

resonancead

ta

ustmentmustbeengendered,butifthroatinessis mis-

enforit,e

withthema

opensup,

t r e m e trho a tni e s s r eu slts.Allsingingmu stbedone

imumpossibleamountoffreedomand,asthevoice

thepowerincreasestoanenormousdegree.Neverthe-

less,ifth eteach e r a i m s a t mree l o u d n e s s , o r n ios e , h e i s a p ttoma

thepupilforcehis voiceandproduceugly,loud,throatytones

whichhavenobearingwhateveruponpropertechnic.Thevibrato

is,ofcourse,ofvital importance,butiftheteachermista

esa

tremoloforavibratoor,for thatmatter,atremolovibratoora

vibratotremolo,hewilldeliberatelyengenderanunpleasantwobble,

whichisutterlydeleterious.

29

                                                                                                                                                                                                           

e

                                                                                                                                                                                                                                     

 

 

   

gain,ateacherwhoembracessomeofthese fundamentalsand

notothers,or,inother words,whocombinesthesetechni

fore

a m pel , t h oe softhe"

mas

ue

voicep lacem ent

ueswith,

o r t h e " s i n gni g i n t h e

s c h olos , w i l l arri v e o n l y a t a s t a t e o f um t ostcn o f u soi n .

Theresultswillbedeplorable.

Theprocedureswhichhavebeenindicatedmustbe followed

meticulouslyandunderstood.Theentirestructurecollapsesifany

onefundamentalphaseofthesub

M a n iu pl a t in os a n d t h e S p e a

Thesenewestproceduresaree

techn icofthespa e

ectismisunderstoodorneglected.

ingVoice

uallyeffectiveinwor

i n g v oci e . I

ingoutthe

                                                                            

nsuchdee vlopm entthepu r e l o w re

r e g itse r s h o u l d b e e m pol y e d am l oste

c l u svi e l y b y b toh s e

    

esfor

speech.Theuseofthelaryngealcontrols speedsuptheestablish-

mentofthisregisterto aremar

abledegree.Theuseofthetongue

instrumentspeedsuptheengenderingofpharyngealvowelforma-

tionresn oanced a

ustm e n t  f o r t h e s pae

i n g v o ie c,j

u s t a s m uh cas

itdoesforthe singingvoice.

a w , Ber a t hni g M u s lce s a n d S p e a

Thej

ingVoice

awshouldneversetin themiddle,orloc

itshouldbe" detun ed

,positioninspeech

andbekeptinamoreorlesscls oe d p o s -

ture.Theproperholdon thebreathingmusclesisofvital im-

portn a c e i n s p e c h . F o r a c t i n g a n d p ulbi c s p e a

i n g t h i s i s s ,on o t


onlybecauseofitstechnical importance,butalsobecauseitallows

rela

ationofthechest,shouldersand arms.Thus,theactoror

publicspea

erwhohasattaineda properholdonhisbreathing

musclescanma

                                                                              

eallofhis gestureswithabsolutefreedomand

gracefulness.Theproper,localizedtensions,whicharethecon-

     

comitantsofagoodtechnic,allowcompletephysicalfreedomin

acting.

Thespea

ingvoicecanbetrained onlythroughtheproper

developmentofthesingingtechnic.Theadvancesmadeinim-

provingtheprocedureswhichcanbe employedforthedevelop-

mentofth esingin gvoiceaply,th e r e froe , e

voice.E

u a l l yot t h e s p e a

ing

verythingsaidwithregardtothe centeringofthepitch,to

t h e m uisc a l l i n ,et o t h e " h o l d

betw eenton e s , t o t h e ei lm i n tai o n o f

slurring,etc.,appliestospeech.Thesentenceshouldbe spo

enas

asingleunitin acontinuouslinewitheachvowelsound centered

onadefinedpitch.H

umsandprolonged,slowconsonantsaremost

offensiveandmustbeeliminated.Thesephasesofthetraining

297

                                                                                                                                                                                                                                 

  



    

ofthespa e

i n g v o ie caree

                                                                                      

a c t l y te hs a m e a s wtih t h e s i n g i n g v oci e .

verythingwhichpertainstothesingingvoice appliestothe

spea

spo

i n g v oci e a l s o , e

cepttheu seofthevib rato,b e c a ue sthe

envowelisnotsustainedlong enoughforthevibratotocome

intoplaysufficientlyinorderthat itmaybedetected.

v e r y a tco r o r p u bi lc s p e a

ershou l d , i n deed , h a e vhisvoice

trainedproperlybecauseagoodtechnicprovideshim withthein-

strumentwhichisthemediumthroughwhichhe e

m p l iifc a toi n H a s H

armd eV

presseshimself.

ocalTc eh n i c

Thescientificfindingswhichmadeit possibletodeducethe

fundamentalprinciplesofvocaltechnic,havealsobeenapplied

tothereproductionofsound.This mighthavebeenatremendous

boontothehumanracei f,asanoffshoot,ithad notbecomepossible

forsingerswhohadvirtuallyno voicestoma

elargesumsofmoney

bysingingovertheradio andforthemoviesandrecords.I

nview

ofthefactthat thepowerfactoriseliminatedin reproduced

music,asanecessaryconcomitantofsinging,performerswithsilly,

little,throatyvoiceshavebeenableto buildupbigreputations

andhavebecomepopularfavorites.S

ogreathavetheirreputations

becomethatsomeoftheseso-calledartistsare actuallyappearing

attheMetropolitantoday.

Thissortofthing hasmadeitpossiblefor theteachertothrive


whenallhesucceedsin doingistoshut offvoices.Todaymany

suchteachersareableto boastofhavingproducedhighlysuccess-

fulstars.

Beforetheadventofthemicrophoneandthe amplifier,every

singerhadperforcetoma

ehimselfaudibleinthe auditoriumin

whichhesang.Thismadeit incumbentuponhimtoproducehis

voicewithatleastsomedegree offreedom,forwhichreasona

certainstandardofvocalefficiencyhad,ofnecessity,to bemain-

tained.Todaynostandardofvocalfreedomisdemanded.I

t r u e t h ta"

s h u t off,

tis

t h r o tay v o i e c s u s u al ly l a s t o n lyforafewya ers.

tisalsotrueth a t t hi s tp yeoftech n i c i s p h yisc a l l y i n u r i o u sand

absolutelycontrarytonature.Nevertheless,performerswho,inthe

past,wouldnothavehadenoughvoiceto singinoperetta,are

todayabletoappearin leadingoperaticroles.

llthisis verysadindeedandnothingcan bedoneaboutituntil

suchtimeasa fullrealizationofthefact thatthevoiceis anormal,

natural,humanfunction,sub

ecttocertaindefinite,scientificlaws,

ifitis tobeproducedefficientlyandhealthfully,hasbecomeuni-

versallyrecognized.

298

                                                                                                                                                                                                                                                                                                                                                         



 

    

Well-prod ucedVoiceR

A

   

eprod ucesBs et

reallywell-producedvoicesoundsbetterinreproductionthan

        

oneproducedwithacrooningor throatytechnic.Notonlyis this

s o , b u t i t c a n cn ov e y a r elam u s i c lam e s s g aeanditcane

pressth e

emotionsandatmosphereofthecompositionlegitimatelyandsin-

cerely.Thereisnocomparisonbetweentheartistic virtueofthe

performanceoftheoutstandingthroatysingersoftodayandthat

ofthegreatsingersof thepast.

We haveontheonehand,then,the performerwithalittle,

t h r o tay v o i e candchep a,fa

etric

s o f i n t e rrpe t aito n , w h o,becu ase

ofhispersonality,maybeableto ma

moneyforafewyears.O

withafree,full,e

eaconsiderableamountof

ntheotherhand,we shouldhavetheartist

pressivevoiceandalegitimatemusicaland

artisticinterpretation,whosevoicecanlastuntil heisanold man,

andwhoisable,therefore,aftermanyyearsof singing,toarrive

atapinnacleof artistryandmusicianshipaswellas vocalefficiency.

tisinfinitelyharderto singreallywellthanto merelycroon

throughamusicalcomposition.

Thereader,whetherhebea teacheroranaspiringsinger,

mustchooseoneofthetwo paths:Theeasyroad,whichmayenable

asingertom a

e m o n e yof r a f e w y e ras , o r , e n ableatec ah e r t o

trainvoiceswithoutdoinganyreal wor


o r m u s ia c l s i d e o f hsis u b

ectorthehardra od,wh i c h d e mn ad s

concentrationandintensivewor

theteacher

wor

atall,eitheron thevocal

onthepartof boththepupiland

theroadwhichdemandsmanyyearsofconcentrated

andstudy,buttheroadwhich canleadultimatelytothepro-

ductionofgreatartists.

Gra e t A r t i s st A

reRare

veryonecannotbeagreatsinger.Probably,atany onetime,

thereareaboutahundredindividualsin theworldwhocould,

underpropertraining,becomesupremelygreatartists.Thereare

afewthousandwhocouldbecomeveryfine artists.Thereare

severalthousandmorewhocouldbecomecompetentartists.O

fthe

rest,propertrainingimprovesthevoicein everycase,andmany

canbemadeintorelativelycompetentsingers.O

fcourse,somewill

inevitablyfallbytheroadside,whicheverpaththeymaypursue.

Beforestudyingsinging,thereadermustma

g o a l h e wsih e s t o am i at.I

euphismind which

                                                                                                                                                                                                                                                                                   

fhedecid esthathera ellywn atsto

learnhowtosinglegitimatelyandaim atthegoalof trueartistry,

h e m u s t m a e s u r e t h tah i s t e a c h e r u n d esrt a nsdh i s w o r

299

, a n d t h ta

                                                                                                                                          



 

    

                                                             

heisbeingproperlytrained,scientificallyand musically.Theaspir-

ingpupilshouldinvestigatehisprospectiveteacherand findout

thebasisofhis teachings.F or,whilethepupilmust haveconfidence

inhisteacher,he shouldbasethisconfidenceupontheteacher

n o wel d g e o f hsis u b

ectandhemu stchec

himself,becausethereisnoofficialchec

s

t h i s k n o w l e d g eof r

today.

hoosingaTeacher

uspecttheteacherwhotriesto impressyouwiththenamesof

well-

nownsingerswhoarestudyingwithhim,or whohavestudied

w i t h h i mni t h e p a s t . R e m e me br  m o s t o f t h e w ell-

  

n o w n sni g e r s

havegonetheroundsandare claimedbyseveralteachers.The

factthatasuccessfulsinger hasstudied,oris studying,withany

                                                                                                                                                                                                                                                                                                                                                                                    

particularteacher,meansnothing,unlessthissingerobviouslyhas

imprv oe d vc oa l l y u n dertheta echer

stuitin o.I

f h e h a s n o t i mrpo v e d ,

buthasremainedmuchthesameas before,theteacherwillnot

beabletoim p r oe v y o u r v oci e  i n f a c t , h e i s m roe l i

it.I

elytoimp air

fhehasdeteriorated,evenalittle, theinferenceisobvious.

Thisteacherwillundoubtedlyhurtyourvoice

deteriorateunderhistuition.I

itwillinevitably

fhehasnot helped,buthashurt,a

singerwhoisso talentedthathehasmadea nameforhimself,what

willhedototh eaverg aestud ent

u r t h rem o r e r e m e m b ret h a t t h e

talentedperformerisonlytooaptto begovernedbyemotionrather


thanbyreason.I

nproofofthis assertionthereareinnumerable

singerswhosevoiceshavestartedtodeteriorateradicallywhostay

w i t h t h eet a c h res w h o a r e r u iningth em.Eveniftheydoma

ea

change,theyareonlytooapt togotoanotherteacherof thesame

s c h o loa n d k e e p o n " p u t t i n g i t i n t h e n o e s

ma s

u e,

or"

s i n g ig ni n t h e

e tc .

Theaspiringvocalstudentmustdemandtheproperlytrained

vocalteacher.H

emustnotstudyvocaltechnic withtheuntrained

teacherwhetherhemaybe ane

p a n itso r j

-singer,acomposer,anaccom-

ustanimp r e s svi e o r c h a r m i n g p e rosn . H e m u s t n o t s t u d y

voicewithanyoneofthese individuals,unlesshehasbeeneducated

properlyintheessentialsciencesand hashadpropertechnical

traininghimself.When thedemandforproperlytrainedteachers

hasbecomesufficientlyinsistent,hewillbe abletofindsuchteach-

ers,andnotbefore.

n t h e f i n laa n a l yiss , i t i s u p t o t h e vcoa l s t u d enttobrin gabout

thenecessaryrevolutioninvocalteaching,iflegitimatesinging

isnotto becomealostart.O

wor

300

nlywhenthevocalstudentrefusesto

withanyteacherwhohasnotbeen trainedproperly,will





  

    

vocalteachingbecomeaseriousprofession.Thischangewill not

comefromthevocalteachersthemselves.I

tmustcomefromthe

vocalstudent.Thedemandcanfinallyforcethe supply.Thescien-

tificallyuneducatedanduntrainedvocalteachercanbecomea

thingofthepast.

Wor

sth e"R

oa y l R o ad

                                            

toG o od S i n g ni g

Thestudentwhofindshimselfdeterredbythe difficultyoflearn-

          

inghowtosing correctly,andwhoisunwillingto dothenecessary

wor

tobecomeanartist,shouldfacethis facthonestlyandsin-

cerely.Then,ifhedecidesthat hemerelywantstosingnicely to

p l e ae s h i s f r i ed ns , a n d myab e g e t a j

oboverth eradioorinthe

movies,hedoesnotneedto studyvocaltechnicatall.H

eshould

puthimselfinthehands ofacompetentcoach,whois agoodmusi-

cian.S

uchacoachwill nottrytotrain hisvoice,butwillendeavor

toteachhimhowto perfomasartisticallyandmusicallyaspossible

withhisnaturaltechnicaland vocallimitations.True,hewillnot

learnhowtosing,but hewilllearnsomethingwhichmayhave

commercialandsomeaestheticvalue.Undernocircumstances,

shouldhefallvictimto anuninformedvocalteacher,becausethis

willonlyin

urehisvoiceandgain himabsolutelynothing.

301


                                                                                                                                                                         



  



    

I ND X

c o u sitc s

acousticcoupling,40

amplitudeofsoundvibrations,33

atmosphericpressure,1

conductorofsound,38



consonants,3

dampingmaterial,37,291

definitionofsound,33

                                             

energydistributioninthetone,3

fre

u e n c,y3 4

fundamental,35,6 8

intensityofsound,35

measurementofintensity(decibel),

41

musicalintervals,37

musicaltone,34

noise,14,34,235-23

overtones(harmonics),35,6 9

periodicvibration,34

pitch,34

pressurepulse,34


puretone,34

u a l iyt o f t o n e , 3 5-3

,6



9,227

                                             

reflectionofsound,38

resonance,39-40,6 8

reson ancecv ai t is e, 2 8 , 3 9 , 6 0 -

1,

8 , 7 0 , 2 8-02 8 1

reverberationofsound,38,237

segm e n t aito n o f s t rni g s , 3 5 ,6

8-

9

soundabsorbtion,37

s o u n d se pc t r u m ,3

,6

9,74

soundwave,34,37

soundingboard,40,281,291

sympatheticvibration,39,6 9

transmissionofsound,33,6

291

velocityofbreathand"

bra eth ,

8,282,

  

                                     

vocalized

3,68,291

vibration,34

v o w les , 3

275

ttac

-37,69-70,72,74 ,274-

,2,6

, 1 1 7 , 1 1,91 2 2 , 1 2 4 ,197

r t i c ual t i o n vocal(seeConsonn ats)

Breath

blow ing

b r e aht c o n t rlo

b r e aht ,

290

                

a n d " v o c ai lz e d

3,4,32,28 2 - 2 8,32 8

b r e aht e



b r e tah , 5 , 9 7

,

p u l soi n a n d , 4 , 9 5 - 9 7 , 14 0-

105,130

b r e aht i n t e nist y c u r e vs,9



-97

           

h o l dni g t h e , 3 , 5 , 1 2 2

phrasingand,244,249

Breathing,5,122

        

Breathingmuscles(seeMuscles-

breathing)

olorvowelmodification,37,74,

233-234,24

     



       

                         

   

             

                    

              

                            

                    

             

                 



,254-255,271-272

onsonants,37,72,73,244

a r t i clua t i n oofd,I

275

,nandt,253,

humm ing,10 ,11,37,25 4,2

0,270

onstriction

s i n gni g o n , 4 , 6 , 9 - 1 0 , 2 9

greatnaturalvoicesand,180,288,

295-29

o-ordinationunit,87,91

C o u p d e gol tet ,

7



 

    

o l d ( m u s c u l a)r, 1 0 , 1 2 4 ,233

                

yoidbn oe,59,62,73-74,81 -83,

110,111,219-221

n t e nist y

c o n tor l o f ( s e e V i b r a t o a n d I n t e n -

sityVariation)

mi

e d r e g itsr a toi n a n d , 9 5 ,203,

28

r e g itsr a t in oa n d , 8

               

,88-91 ,95,

    

179-181,184,203

c o l o r v.s, 2 4

,254,255

melodiclineand,243,247,259

s c a l ,e2 8 , 9 0 , 1 0 3,1

2 , 2 0 82- 0 9 ,

251,284

n t o ntai o n , 1,11 9 5 - 1 9

mi

, 2 1 3 , 2 2,92 9 5

e d r e g itsr a toi n a n d , 2 0 4

aw

badlyarticulated,147,21

-217

lipsand,143,21

loc

(middleposition),24-25,140,

142 ,21

loc

ma

,285

andton gue,14 2,285

2 7 5 0 4 0 1 3 0 5 1 0 9 3 . p d m / 7 2 0 2 / t e n . e l d n a h . l d h / / : p t t e h l / g o T o g M d G p 0 # 0 : e 0 s 0 u _ 4 s s 1 - e 9 c c 0 - a 4 / g 1 r 0 o . 2 t n s o u r ) t i y h t t i a s r h e . v i w n w U w / n / : p w t o t r h B ( / e e d L e z l i e t i i n i g a D d e n l a g o h t o a G N , r i n o a f d m e o t D a r c e i l n b e u G P o r t ira d an d , 1 2

mouth-resonancead

n c e

musclesand,(seeMuscles-

tonguepositionand,218

Laryngealmuscles(seeMuscles

laryngeal)

r e g itsr a t in oa n d , 1 5 , 6 0 , 8

Laryn ,55,59,83 ,18

  

-189

edregistrationand,110-111,

18

-18 9

p o s iito n o f t h ,e6

3,81,84 ,111,

-137,2 92

Lips,24 ,2

,143-1 44,21

mouth-resonancead

              

,183-

mi

13

  

           

)

openingthe,140-141,145,21

189

             

-21 9

ustmentand,

24,25,140

nec

                               

ustmentand,

24,143

           

                

        

Manipulations

head,13

hyoidb one,82 -84,98 ,1

221

0,219-

         

a w , 1 4,72 1 8 - 2 19

limittouseof, 153

ma

mi

o r t r i a d ad n, 2 1 92- 2 2

ed-registration,110-113

o ca t ve j

umpn ad,10

thyroid,97-100,159,219-221

tongueinstrument,75-79,85,101,

118,152,157,211-212,221

Mas

ue,

s i nign g i n t h e , 4 , 1 0,12-

13,280-288,292

Melodicline(connectingtones),127,

20

-209,213-214,237,242-243,

253,273

         

                                 

consonantsand,275

tim ing

  

                           

                      

          

                                                                                                                                               



intensityscaleand,243

s l u r rni g a n d , 18 2, 2 0 8 , 2 3

      

-237

a n ,d1 2 8 ,209 ,2

5

Mezzavoce(seePianissimo)

Muscles

antagonisticandinterferingtension

on,1,3,11 ,14,53,63,117-118 ,

125,127,140,180,282,294

balanceddevelopmentof,3,5,78

b r e aht i n g ( seeE

uilib r i u m,)5 , 3 1 -



 

    

         

phrase(musical),173,238,245

portamentoandvibrato,32,174,

 

208,247

           

principalmelody,239,247-248

recitatives,247,249-250

rhythmicpattern,174,209,229-

231,24 0-241 ,243,25 3,2

0-2

                                   

1

scales,241,244

schoolsofmusic,239,24

section,238-239,242

stress(music),238,245,250

syncopation,243

tempo,240,243

theme,240,245

time,174,239-240,243,251

tra d iito n ,2

2-23

N aut r lav oci e ,

1 3 5, 2 , 1

4,1

,

     

295-29

Nec



m u s cel s ( s e e M u s c l e)s

Nec

w hsi t il n g ,

              

1 4 ,2 3, 6 4 , 1 5 1

Nodules,13,109,134

O c t av e j u m p, 1

11 -

2


Openin g

(seResonn aced a

201

b r e aht e

105

p u l soi n a n d , 4 , 9

            

,104-



     

instages,201,212

suddn e"

o p e nni g s ,



104-1 05,201

                

vibratoand,32,172

powerincreases,and10

Pianissimo,1

2

-107,201

7,179-181,189,251,

1,2 88

v i b r tao a n d , 3,21

7,181

Pitchan dlaryn gealmu scles,5 9,18

189

-

244



              

,195,228 -229

c a r r iyn g p o w erand,38 ,23

-237

intonationand,12,193,228

lengthofvocalcordsand,192

mi

    

e d r e g itsr a toi n a n d , 9 4 ,199-

   

200,202

personal(seeV

                    

oicestypesof),

227-228

pureregistrationand,87,195

v i b r tao a n d , 3,15 1 , 1

9

adiotc eh n i c , 9 ,25,101,1 7

 

,199-

  

200,202,283,287



ecordingsofgreatartists,178,213-

2 14 2 ,

6 - 2

 

          

                            

                

           

         

             

u a l iyt ( s e e A c o u s t i c s,)3 5 - 3 7 , 5 1,

105,17

   

    

-107,

124,152,154,174,225,229,231,

            

         



,125,12 7,231

Psychology,problemsof,10

      

          

Posture,29,120,121,138

P r e -et n s in o, 2 , 1 4 , 7

 

      

P l a cni g t h e v oci e , 4 , 9

   

     

              

Pitchrangeandfaultyregistration,

92

      



u s-t

ment),21,85,104,130,200-

         



   

 

     

           

                            

      

7



egistration

balancingofregisters,15,18,102

1 04

222

brea

1 59 1 -

0,12-1

3,1 9

betw eenreg i s t e r,s1

,20,

,92,

193-195,205

changepointbetweenregisters,

103,222-224

c o - odr i n aet d v s . m i

ed,194

co-ordinationbetweenregisters,17,



 

    

e s o nn ac e a d

ustm ent

pharyngealopen,21-23,6

0,70,80-

81,104,280-281

egistrationand(seeR

egistration)

slurringand,29,175,197

tongu eand,60,6

t h r o tay , 2 3 , 2

a w l co

2,82

-27,10 1,203,28 4

a n ,d2 4

lipsand,24,2

tongueand(seeTongue)

mouth,24,6

0,72,252-253,275,

281,28

e s o nn ac e c a vtii e s ( seeA

c o u sitc s )

c a l e i net n s iyt ( s e e I

nten s i t y s c lae )

c a l e s ad nv i b r aot , 1

8

elf-listening,124,154-155,230,282

i n g esr, p r ee s n t d a ,y2 7

-277,2 89

l u r r ig n, 2 9 , 1 2 8 ,173,28

attac

a n d , 2 , 17 1, 1 9 7

gie v

and ,213

intonationand,11,173

mi

e d r e g itsr a toi n a n d , 2 9 ,117,

19

-19 7


pureregistrationand,197

resonancead

197

ustmentand,29,175,

timespotand,29,174-175,207-

2 08 , 2 0

vibratoand,173-174

ob,2 45,21

o u n d ( seeA

c o u sitc s )

p e a i n g v o ci e , 2

8-2 75,2 97

faultsofdiction,271

mi

e d r e g itsr a toi n a n d , 2 0 ,2

naturalq

pitchan d i n t e nist y o f , 2

273

r e g itsr a t in oa n d , 2

re

9

ualityof,271-272

8,270-

9,272,29 7

uirem e n t s f rog o o d , 2

s i n gni g v s . , 2

8-2

9,297

8

trainingthe,272,297

tune,

temp o , a c c etna n d r h y tm h,

andthe,270,273-274,297

v i b r tao a n d , 2

uea

2

8,274,2 98

v oci e

a n d er gsi t a r toi n 2, 0 ,

,101,19 8-199

Technicalpracticealone,155

Tessitura,1

,255

Thoatiness(seeTongue,R esonance

ad

u s t mn et , e t c) ., 2 3 , 2 7 , 7-47 5

droppedtongueand,24,81-82

mi

edregistrationand,94-95,198-

204

nec

,chestan dshould e r m u s lce s

and,6,132,13

-137,1 40

tremoloand,171

Throatyvoicesandinterpretation,

2 58 , 2 4

                                                                                                                                                                                                                                            

                                                                                                                                                                                                           

Thrpatysingingandmusculardevel-



opment,109,137

T i m ig n,

2,29,12 7-128 ,209-2 11

Tonevs.noise,108,29

Tone,wor

125

doneinproductionof,

Tongue

correctpositionof,73,79-80

dropped(seeThroatiness)

tongueinstrumentand(seeManip-

ulationstongueinstrument)

  



    

      

u a l iifc a toi n s o f , 6 7 , 8 5 , 2 1 4 - 2 15,tvp eof,13,28 ,42,1

278,29 3,29

,300"

oiceVowelsI

oiceplc ae m n et,



,227

  

                      

4,7,32,291

s e e A c o u s t i c)s

developmentof,6 0,97,130,201forcedmodificationof,72

f o r cni g t h e , 9 , 1 0 , 1 3 5 , 2 9 2

lossof,189-191,288,294-295W

s a v ig n

hisper,absolute,90-91,1

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Douglas Stanley - Your Voice - Glossary Entires on Registration

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