Imágenes de páginas
PDF
EPUB

EXERCISES FOR THE DEVELOPMENT

OF VOCAL PURITY

As the body is the instrument used for the production of sound, it is necessary that those parts or muscles of the body. which are employed for that purpose should be carefully strengthened and developed, and made subject to the constant control of the will. A physical basis must be laid before the pupil can acquire a voice suitable for public speaking; and therefore the mastery of exercises in physical culture is an absolute prerequisite to the attainment of a good voice. It is not our purpose to discuss scientifically the laws of sound, or the anatomy of the organs of speech, but to suggest a few practical exercises for students who wish to secure a free and full use of their vocal powers.

One of the first and most imperative demands made upon the public speaker is that his voice shall be pleasing. This involves the acquirement of the purest musical quality of tone united with perfect freedom from apparent effort in vocalization. The first step in securing pure tone is to gain control of the breath, so that it may flow from the mouth in a perfectly equable stream. This control must be certain and free, and the whole breathing apparatus must be brought, by physical training, under such perfect obedience to the will of the speaker that its action will eventually become largely automatic.

The First Step: Exercises in Physical Culture and Breathing.

Poise. The head and shoulders should be in such relation to poise that ear, shoulder, hip, and instep shall fall in the same line. An easily balanced position of the parts of the body is essential to free chest expansion and the correct and forcible use of throat and abdominal muscles.

RELAXATION FOR ELASTICITY

Jaw. Relax the muscles of the face, beginning with eyelids and eyebrows. Let go all tension until the expression is that

of a sleeper, with jaws relaxed and mouth falling open. Move the jaw with the fingers in all directions until it is flexible in joint. Shake relaxed jaws by movement of head sideways and up and down.

Throat. With the jaw relaxed, open the throat and breathe through it as in snoring. Let head drop forward, throat and neck muscles relaxed. Practice the preceding, letting head fall backward, to right, left, and in oblique directions, until its full weight can be felt.

Tongue. Let the tongue lie flat in bottom of mouth, tip lightly touching lower teeth; from that position, without arching it, thrust it straight forward and draw it back as far as possible several times. Open the mouth wide, and move the tongue in circular direction, following outline of lips and stretching the muscles at the base of the tongue.

Breathing. Inhale normal breath slowly, using abdominal, dorsal, and chest muscles in filling the lungs from the lower part to top. Exhale slowly in reverse order. Increase the length of inspirations and expirations, until twenty-five or thirty seconds for each may be easily reached. Inhale slowly through the nostrils for ten, twenty, or thirty seconds. Exhale for the same length of time, using the syllable hah, which may be uttered with a gentle aspiration. Repeat this exercise several times, and notice particularly that the stream of air escaping from the mouth is delivered with a smooth and even flow.

The Second Step is to vocalize this stream or column of air. The steady management of the air column producing perfect musical vibrations, determines largely the beauty and vocal purity of the tone. It follows then that a regulated emission of the breath becomes an important factor in the production of pure tone. Sound the tonics ā, ē, i, o, u, σo, ä. Inhale freely, and prolong each one of these vowel sounds for ten or twenty seconds. This exercise should be repeated frequently, for it constitutes the beginning and end of training for vocal purity.

All other exercises are, at best, but slight variations of the above. Bear in mind that it is not multiplicity of exercises that is desirable, but a few well-chosen ones in which the principles of correct vocalization are applied. The ability to sound the tonica for ten or twenty seconds, and from the initiation of

the tone to its close to produce perfect musical vibrations, is the surest sign that the pupil is pursuing the most rational and direct course to secure vocal purity. The skillful teacher may assist in relaxing the muscles of the throat, and in placing the tongue and mouth in their proper positions to secure pure tone; but after all is said and done, the instructor cannot, by any physical adjustment of the organs, do more than assist the student in his efforts in vocalization. The mechanism of the human voice is so delicate, and its adjustments are so varied and difficult, that any clumsy attempt to regulate it, as one would tune a piano or a harp, will utterly fail. It will require months and years of practice before the speaker gains free and absolute control of the delicate machinery. Nothing less than untiring patience and industry, united with skillful and careful advice, can master the difficulties. In beginning this exercise, all that the student is required to know is the difference between a harsh and unpleasant sound and a comparatively pure and musical tone. His musical sense, however deficient, can surely detect such a differ

ence.

The Third Step is a slight variation of the preceding exercise, for the purpose of bringing the sound column to the front part of the mouth. If the column of sound is directed against the soft palate and the soft walls of the air-chamber above the larynx, a dull, hollow quality of tone will be produced. This is due to the character of the resonating surface against which the column is directed. For clearness, brilliancy, and purity of tone the column should be directed against the hard palate, or sounding-board, in the roof of the mouth. Select a list of words whose initial consonants are made by the lips and teeth. The consonantal combination will aid in bringing the voice forward, and in locating the resonance in its proper place. Pronounce the following words, prolonging the tonic element four or five seconds, constantly endeavoring in your efforts to get the tone more pure and to locate the resonance in the front oral cavity.

[blocks in formation]

The Fourth Step is Reading. Selections involving the sentiments of serenity, beauty, and love, are best suited for exercises in vocal purity. The effusive form of utterance, and the long vowel quantities required for the proper expression of these sentiments, will enable the student to detect harshness or impurity in the tones of his voice.

Singing or chanting exercises may be introduced here, but it is better to use only a few exercises, inasmuch as the same vocal principle enunciated in the second step will be repeated with slight variations in all these exercises. As soon as the pupil is aware of the impurity of the tones he is using, and has a clear notion of how to improve the quality of his voice in the use of a few well-chosen exercises, he should be put to the reading of selections. The stimulus of thought and sentiment, and the awakened powers of appreciation, will encourage him in his work, and at the same time furnish as good opportunities for vocal practice as the abstrack exercises.

EXAMPLES FOR PRACTICE

SONG

When stars are in the quiet skies,

Then most I pine for thee;
Bend on me, then, thy tender eyes,

As stars look on the sea.

For thoughts, like waves that glide by night,
Are stillest when they shine;

Mine earthly love lies hushed in light
Beneath the heaven of thine.

There is an hour when angels keep
Familiar watch o'er men,

When coarser souls are wrapt in sleep -
Sweet spirit, meet me then.
There is an hour when holy dreams

Through slumber fairest glide,
And in that mystic hour it seems
Thou shouldst be by my side.

The thoughts of thee too sacred are

For daylight's common beam;
I can but know thee as my star,
My angel, and my dream!
When stars are in the silent skies,
Then most I pine for thee;
Bend on me, then, thy tender eyes,

As stars look on the sea.

-Sir Edward Lytton.

Frequently test the purity of the tone you are using by prolonging the vowel quantity in certain words, and then use the same pure quality in shortened form for reading—thus, in the first line of the song the words stars and skies whose vowels are long, may be so used; also in the second line the words pine and thee,

etc.

DRIFTING

My soul to-day

Is far away,

Sailing the Vesuvian Bay;

My winged boat,

A bird afloat,

Swims round the purple peaks remote:

Round purple peaks

It sails and seeks

Blue inlets, and their crystal creeks,

Where high rocks throw,

Through deeps below,

A duplicated golden glow.

Far, vague and dim,

The mountains swim:
While on Vesuvius' misty brim,
With outstretched hands,

The gray smoke stands,

O'erlooking the volcanic lands.

« AnteriorContinuar »