fco- UCSB LIBRARY The Tone-line The Tone -line Principles of Voice Development By Albert Baker Cheney Published by Albert Baker Cheney Emerson College of Oratory Boston, Mass. Copyright, 1896, By Albert Baker Cheney. Nothjooti $3rf ss J. 8. Cnihing & Co. Berwick & Smith Norwood Mass. U.S.A. Contents Page To My Pupils ..... 9 The First Principle 1 1 The Development of the Ideal Tone . 1 5 Song and Noise . . . . .18 Breathing and the Adjustment of the Vocal Organs ...... 20 The Mental and the Physical Tone-line . 24 The Tone-centre, or Germinal Point . -33 Tone-centres and Forms . . . 35 Quality and Definiteness of Tone . . 39 Practice in the Use of Syllables . . 41 Order of Work . . . . -45 Catechism ...... 49 Index ....... 59 5 The Music of Nature The song of Nature is forever, Her joyous voices falter never j On hill and valley, near and far, Attendant her musicians are. From water brook or forest tree For aye comes gentle melody ; The very air is music blent, A universal instrument. When hushed are bird and brook and wind, Then silence will some measure find, Still sweeter ; as a memory Is sweeter than the things that be. JOHN VANCZ CHENEY. "Art is the perfection of nature." SIR THOMAS BROWNE. " Education is that which introduces man to his own highest powers, and thereby makes those powers available." " All human growth depends upon concentrating the mind upon the right objects of thought. ' ' CHARLES WESLEY EMERSON. The Tone-line. To My Pupils. THE best teachers of the human voice, the old Italian masters, taught, and that was the end of their work; they did not describe their methods of teaching in writing. Per- haps theirs was the wiser way ; but requests, coming from my pupils, are so many and so urgent, I have at last decided to write out a few things they have heard me say concern- ing the art of singing, concerning the pro- duction and culture of the voice. The voice cannot be taught by the use of written lan- io The Tone-line. guage ; it requires the presence of the living teacher. Hence I shall do all that I count of importance when I commit to paper a sufficient number of observations to bring back to your minds the many others heard in connection with them. It is far from my purpose to present a system of vocal culture. You will not look for that. Indeed, I can hardly hope that the few points made will be clear to those of you who may have forgotten the vocal illustrations given when we were together. However, I have done all that I have either the time or the inclination to do ; and this little would not be attempted were it not for your singular appreciation, loyalty, and enthusiasm. I cannot refuse all com- pliance with petitions from such a source. The First Principle. 1 1 The First Principle. THE First Principle to be established in learning to sing is, that the mind controls the body. Singing is a physical act, and before the act, must be the mental mandate. The place to begin is at the beginning ; our first attention should be directed to the mind. Now, the mind has ever one object in view, the truth. In learning to sing, therefore, we at once ally ourselves with the great souls of all ages ; we are seekers after truth. Such is the dignity, the worth, of tone study and tone production; and on no smaller terms can we hope for the development of a great singer. Too much stress cannot be laid on the point of mental attitude and control. When 12 The Tone-line. ^_ ^^__ ^_^____ we are conscious of a mental tone, that tone may be produced, provided, of course, there be no imperfection in the nerves leading from the brain to the vocal organs. Nature is not to be taught tricks. She has her own way of operating the diaphragm, larynx, and other organs for the production of musical tones. Think the tone, and leave the rest to her. Make sure of the what, and the how will take care of itself. In the early stages of in- struction, the less anatomy the better. The forces you are trying to control are hidden, intangible. A distinguished observer, who has been watching the larynxes of all sorts ^**^* of persons for twenty years, avows himself unable to distinguish the larynx of a great singer from the larynx of one that cannot - sing the simplest psalm-tune. The larynx has been likened to nearly every musical in- strument, from the JEolian harp to the torn- The First Principle. 13 torn. All of which likening inspires fresh admiration for the saying of a cautious, short- cut philosopher on the dwelling-place of truth : " The truth is neither here nor there ; the truth is where it is." The larynx is where and what it is. You are not in search of a larynx j you have that already. You are seeking your voice ; one of the things that physical science cannot lay hands on. Acoustics can tell you that pitch is determined by the number of vibrations; that strength is determined by the amplitude of the vibrations ; that quality is determined by the form of the vibrations. Acoustics can tell you this ; but it cannot tell you how to produce the pitch, the strength, and the quality. For this information you must go to your own mind or soul. No two souls are alike ; no two voices, or reporters of the soul, are alike. Hence, look 14 The Tone-line. to the development of individuality ; to the finding of the individual voice, then to the development of it, regardless of all other voices whatsoever. Allow no imitation of another voice ; no singer ever sang with any voice but his own. The compass, or range, of the voice is not the all-important thing ; quality comes first, the expression of personality. Bend the en- ergies, first of all, to the development of the ideal tone, of the tone that is the true report of the soul, the one particular soul seeking expression. Development of the Ideal Tone. . 15 The Development of the Ideal Tone. THE Ideal Tone, the tone that truly re- ports a given mind or soul, is soonest reached by short journeys; and the pace should be measured and moderate. The entire way must be carefully travelled and made familiar. A pupil, hurrying for an ideal tone, is certain to miss it. Besides, he is almost certain to overdo; and to strain the mind is as hurtful as it is to strain the body. We all belong to the great universal sys- tem, and whoever discovers a truth, gets a reflection from the source of all truth. The human voice is one string of the great Uni- versal Instrument for the proclamation of truth. Earnest and intelligent seekers for 1 6 . The Tone-line. truth, holding closely to universal law, live much of the time in an inspirational atmos- phere ; the laws of being work freely through them. Let the pupil, therefore, at the outset, square himself by the laws of nature; that is, by the laws of the Central Mind. This is the straight way to the right mental atmosphere and to the attainment of art. Squaring one's self by the laws of nature is a process not so much of reasoning as of feeling. We hear a great deal about intel- lectual science ; we hear altogether too little about emotional science. What George Eliot makes one of her characters say of conduct, is equally true of singing : " It isn't notions sets people doing the right thing ; it's feel- ings." The mind's highest possessions are not results of the reasoning power; they are results of the emotional nature, the feelings. Strong inspirational power is, of course, Development of the Ideal Tone. 17 inconstant; but every now and then come the spiritual, the divine, flashes. Then is the hour of mental growth, of mind and spirit expansion. Nature is always trying to tell us something. Do not wait for people ; listen to nature, silently listen with the whole mind. 1 8 The Tone-line. Song and Noise. THE wide-spread feeling abroad, to-day, that there must be a radical change in the art of song, has come none too soon. Vocal training throughout the world has been mainly conducted on a physical basis ; the result be- ing rather meaningless feats of the vocal organs than true song. True song is mind and heart revealed through tone. Tone is of mental and emotional origin ; and to reach it we must go behind physical science. A voice is not like a piano. You cannot buy it; your voice is you. Real singing is the spirit of the singer floating in vocalized air. To this voice all hearts and minds listen; the spirits of the singer and of the listener meet. People that Song and Noise. 19 really think and feel, get nothing from the meaningless noise so commonly substituted for song. The substitute is not the result of mental and spiritual growth ; it is, on the other hand, evidence of mental and spiritual interruption and stagnation. The tendency of many vocal methods is to limit the action of both mind and body; and to do this is to induce, not only failure, but disease. For the development of the musical voice we must look to nature through tone feeling. 2O The Tone-line. Breathing and the Adjustment of the Vocal Organs. THERE is a world of air forever present. If air is not shut out, there is a constant supply, equal to the demand. Air rushes for a vacuum; and, since the body serves the mind, you need simply to think vacuum, when air will respond according to the vivid- ness of the mental picture. Practice soon establishes the habit of right breathing for the purpose of song. Much has been said about relaxing the muscles in breathing. Attain the concept of freedom, and the relaxing will take care of itself. The relaxing, or "decomposing,"- now much in vogue, is a phenomenon of death. There is a vast difference between death and Adjustment of the Focal Organs. 21 living rest. We turn away from death, while the quiet of sleep is pleasant to look upon ; life appears to be coming in, not going out, nor gone. Fix the thought, not on death and decay, but on life and growth. If you would breathe freely, attain the concept of freedom. Think, for example, that all the air in the room is yours; that you have but to open to it, and your lungs will be filled. Ask a child to pick up a pin, or a brick, and his fingers will open and act according to the size, shape, and weight of the pin or the brick. Precisely so the respiratory organs work in the reception of air. Should we breathe through the mouth? is a question often asked. As a rule, no. When the moment for the exception comes, you will respond to the extra demand. Nature is never without a reserve. The singer breathes, not for life simply, 22 The Tone-line. but for life and song. The breath for song is something more than our ordinary breath ; hence the good old counsel to " breathe nat- urally " is of little help. To be sure, the breath must be natural ; but natural for the particular purpose. In training the voice, the mind should be fixed on the tone; not on any muscular action that may be imagined to cause it. Thinking of the lungs, the larynx, the apple, never yet made a singer; and it never will make one. Think of the thing sought, not of the troubles to be overcome. The human voice should be trained as a human voice, with right mind behind every utterance. Mind should direct, step by step, the physi- cal adjustment ; and the physical-adjustment drill should be continued till the mental and physical forces are a unit in sympathy and power. It is a waste of time to inquire too Adjustment of the Vocal Organs. 23 closely into the secret of this unity. The unity is enough without the secret. Jenny Lind's voice reported her mind, or soul. That we know; but just how the report was made we do not know, and perhaps we shall never know. A perfect adjustment of the vocal organs once established, there is a coa- lescence of all the forces requisite for the ex- pression of the mind's voice, or of mind in tone. Under the training of the human voice as a human voice, the lines of inspira- tion grow sharper, the thinking power in- creases, and the physical organs that directly or indirectly produce the voice, develop strength and obedience. 24 The Tone-line. The Mental and the Physical Tone-line. To give a name to nature's way over which the voice travels, I call it the Physical Tone-line; and since the voice is developed by means of mental concepts, I speak of a mental tone-line corresponding to the physi- cal tone-line. The tones of the physical line grade in size and quality from the large or dark tones, having their resonance in the trachea, to the small or bright tones, having their resonance in the anterior nares. While each tone of the line has its own resonance- centre, its own pitch and quality, there is no point where one quality ends and another begins. There is no " break " in this line ; it is a continuous stream of free tone. The Mental and Physical Tone-line. 25 Mental Tone-line is an imaginary line, curv- ing from the mouth outward and downward, corresponding to the course of the physical tone-line. The special service of the mental line is to fix in the mind the concept of the curve. The curve concept, with its mental tone-centre, is of the highest importance in securing definiteness of pitch and free quality evenly distributed through the compass. The physical tone-line is one of nature's lines. Think of it as made up of tone-centres, or points of resonance, which form a continuous path from the trachea to the anterior nares. The nares, or home of the overtones, is the highest chamber of resonance. We term it the controlling centre of the voice, because, in freely taking the life tone which resounds in this chamber, all the chambers below must be unobstructed, else the tone in the nares cannot be pure and free. 26 The Tone-line. Pitch must always be associated with tone quality, or all sense of proportion in the tone- line will be lost. However much we may sing at a tone, it cannot be sung, without the true pitch-quality. This it is that distin- guishes, yes, begets it. Pitch is true form and quality developed through truefeeling. Difference of quality in pitch is more easily recognized when the tones are two octaves apart than when they are but one degree apart ; but the difference is always there. In developing the physical tone-line, the first practice should be from the smaller to the larger, from the light to the dark, tones. This practice lessens the tendency toward pushing and contracting. The pupil has a sense of dropping to the tone instead of pushing up to it. In due time the practice may be reversed ; the drill may be from the larger to the smaller tones. The association Mental and Physical Tone-line. 27 of the words " high," " up," with the smaller and brighter tones, is a stumbling-block in the way of the singer. Never think up. Think down ; the higher the pitch rises, drop the thought the lower on the mental tone-line. The mental tone-centres are secured by means of mental curves. The curves turn from the central point of the upper lip down and in, to a given point. As the pitch rises, the curves grow longer. To give the idea of the curves, mark them out in the air with the finger. The curve concept acts directly on the organs of articulation, shaping the vowel formation, and connecting it with the tone- centre that frees the voice at the pitch re- quired. The curve concept, fastening the tone-centre, causes the chin to drop and the under jaw to recede ; which action loosens 28 The Tone-line. the throat and secures the requisite adjust- ment of the tone-producing organs. The predominating thought should be, drop lower and lower on the mental line as the pitch rises. This practice is excellent discipline for the mind as well as for the vocal organs. It sets up a standard for the measurement of intervals, near or remote, and results in a right and ready method of taking them. Nature has carried out the gradation of voice in mankind collectively much as she has in the individual. The graded tones, from the heaviest bass to the finest soprano, form, so to speak, the tone-line of the human family. On the central portion of the tone- line (the portion most effective for expression) falls the heavy labor. The strain comes on the centre of a tree, not on the small branches. Nature shields the extreme points. Experienced singers have trouble, often, in Mental and Physical Tone-line. 29 getting tones when dropping from a high to a low pitch, and the same trouble in going from a low to a high pitch. There is no trouble when the singer knows what at- mosphere to place himself in, or, in other words, when he knows the quality of tone belonging to the pitch. If the singer's art foundation has been laid in obedience to uni- versal principles, he will produce the true pitch regardless of long intervals. It is a relief to go from one extreme of the compass to the other; as much a relief as it is to change hands in carrying a heavy weight. The majority of singers, when taking the small tones, the tones of high resonance, in- crease the power; the singing is loud. In this they follow the rule laid down by many vocal teachers, Practise crescendo up the scale, diminuendo down. Nature's rule is the exact reverse. If it must be either cres- 30 The Tone-line. cendo or diminuendo (why the necessity ?), the diminuendo should be used in the ascent. The tendency of crescendo practice in as- cending is to carry up wrong quality ; and then it is that the trouble begins. The swell is not fundamental ; it is ornamental, and should be left for advanced work. The fact is, that until the voice is centred, there is really nothing to swell. The singer that has to sing loud in order to hold a tone at the extremes of the compass is singing with a wrong support. There comes a point of altitude when he finds that he must sing a small light tone or not sing at all. He does not take this broad hint from nature; but simply finds that the small light tone does not connect with the tones preceding. He concludes, therefore, that the small line of resonance has been well named ; it is " fal- setto" in the primary sense of the term, Mental and Physical Tone-line. 31 is, in strict fact, false. So the singer settles the matter; nature, on the contrary, says that the small tones are the only true tones that he has made, and that he would have ruined those could he have had his own way. The tones rightfully styled " false " are not among the uppermost tones, which are out of harm's way ; but among the tones below them, where the singer is more at liberty to do as he will. The present plan of work rids us at once of the " register " and the " break " perplexi- ties. The mind, be it repeated, controls the body. The mental line, if right, insures the right production of every tone of the voice. The mental tone comes first, then the physi- cal tone. Concentrate the mind upon the tone you are to make. The mental tone is the tone to strive for; the only tone that commands and attests perfect physical action, 32 The Tone-line. the only tone that carries welcome intelli- gence, that gives genuine pleasure. The physical tone-line might be styled the human tone-barometer, in which the mental atmosphere causes changes of resonance high and low. For example, the thought being placed in a light, high atmosphere, the tone mounts, in the wake of the thought, to the high atmosphere where the pitch lives. Illus- trations should be continued till the mental quality-atmosphere, is found to be something more than a mere fancy, a fact. Tone-centre or Germinal Point. 33 The Tone-centre or Germinal Point. THERE must be a centre of power, a germinal point of growth. When the tone- centre, or germinal point of tone, is reached, the Life Chamber opens, and beautiful sound issues from it. The singer, hearing it, is as- sured that he is in the right way to give fit utterance to the beauty in his mind and heart. Inarticulate sound is the first practice for the germinal points. When they have been gained within a limited number of pitches in the middle compass, the practice may proceed to articulated forms, which bring the mouth open and the molded tone out. The germinal point is the physical source of tone. When it is retained, wide 34 The Tone-line. vibration, or resonance, results. Under proper direction, the pupil increases the power of vibration till an adjustment of the muscles is attained ; then the systematic development of resonance begins. Tone-centres and Forms. 35 Tone-centres and Forms. As the rose unfolds from the bud, and opens outward, so the tones of the human voice develop and radiate from the tone- centres. After one and the same method nature develops the rose of June and the melodies of the human voice. The tone-centres and articulated forms being established, and united in action, we have a working-basis for the development of the voice, for the habitual production of tone that is not frictional and injurious, that is not noise, but music. Tone formation is a fitting-process of the muscles ; it brings the throat to right shapes and sizes, allowing no unvocalized air to escape. The throat is air tight; there is 36 The Tone-line. perfect economy in the use of air. Right tone-form frees and controls the utterance; it develops the human voice. I repeat, the right mental concept will always cause the right physical action for developing musical tone, provided there be no imperfection in the nerves leading from the brain to the vocal organs. On the other hand, if the mind is all the while dwelling on the muscles, what becomes of the message ? The tone-centre determines the size or limit of the tone-form. On first centring the voice, the average pupil will be dissatis- fied; the tones will seem too small. Let him take courage. Nature will develop his voice ; moreover, will individualize each tone of it. The illustration that I have found of most use in establishing the tone-centres, is that of an old-fashioned powder-horn, the point of which is turned below the mouth, Tone-centres and Forms. 37 curved inward. Generally the vowel E should be first used in teaching, being taken in connection with the consonants M or N. The sound of A as in " ah " is the last vowel sound to be used ; it leaves too much room for the inexperienced. You can find the centre of a penny easier than you can the centre of a room. The larger the vowel sound, the more difficult it is to get the tone- centre. The tone-centres should be estab- lished before the pupil is allowed free use of A as in " ah." This vowel sound, prac- tised, as it commonly is, without tone-centre, admits of the most noise; hence its popu- larity. There is no getting away from the fact that the singer must have pattern, or model, tones. The test of the model tones is double, the approving mental impression and the 38 The Tone-line. corresponding physical sensation. By this test, a standard can be set up. Without it, whatever be the syllabic combination em- ployed, all is guess-work, and progress is out of the question. Quality and Definiteness of Tone. 39 Quality and Definiteness of Tone. QUALITY follows form. If the form be good, the quality is good ; if the form be bad, the quality is bad. Quality and form are associated in nature everywhere. When a stick of timber decays, the form changes ; it changes with the fading leaf. As the muscles grow old they lose their beauty of form. Quality, grace, and lasting power are inseparable. The musical quality of tone is noticed more and more as the tone grows in power. At first the power is irregular and unsatisfactory ; the tone cannot wholly free itself. Mental pictures and illustrations should be employed until the throat is free, and the tone rests on the tone-centre, or germinal point. A true tone is a definite 40 The Tone-line. tone. The more indefinite the tone, the more confusing is the pitch; it holds to the mouth and bewilders the ear. The singer that flats or sharps may have a good ear; but he has not the concept of the what to sing. Practice in the Use of Syllables. 41 Practice in the Use of Syllables. PUPILS often ask if " ah," sea," " po," " coo," and other pet syllables, are not excel- lent for practice. It all depends on the pupil's understanding the sound-form of the syllable in question. Any sound-form that has its own resonance centre is right; any sound-form that has not its own resonance centre is wrong. The sound-forms should be adapted to the requirements of the pupil. Do as your physician does ; apply your medicine according to the person and the disease. It is pupil, then remedy ; not remedy, then pupil. Too much is made of the phrase " round- ness of tone." The " round and full tone," so-called, is often falsely smooth, and detri- 42 The Tone-line. mental to voice development. Use should be made of the concept of the spherical tri- angle as well as of the circle. Thought fixed on the spherical triangle is often of great service in realizing definiteness of form. The tone with true resonance is the right tone, be it round or square. It is not only pleasing, but easy of production. A tone made without effort begets confidence in the singer. He has a sense of full physi- cal power; he is driving tacks with a sledge. The reverse of this is the common experi- ence of singers ; they feel, and make us feel, that they are driving spikes with a tack- hammer. All obstacles must be removed, all friction must disappear; the entire body must be free. This is of the highest importance to orator and singer alike. Free singing and free talk- ing should be developed together; the one Practice in the Use of Syllables. 43 helps the other. The false tones of the orator are less perceptible than those of the singer ; but this is no excuse for using them. The orator, equally with the singer, must use the truth tones if he would express the truth. The grinding roar, and the saliva rattle, af- fected by so many actors and elocutionists, do not win and convince; they repel and dis- gust. The singing-tone seems more beau- tiful than the speaking-tone; largely for the reason that the singing-tone, longer sus- tained, sinks deeper into the feelings. Tone language is born with us ; it is the back- ground of word language. The prolonged, or singing-tone, comes first. The singing- tone is held long enough for a definite men- tal impression and the corresponding physical sensation ; hence it is fundamental in voice drill. The talking-voice is, so to speak, the singing-voice broken up. Think of the 44 The Tone-line. centred singing-tone as a whole; think of the talking-tones as parts of it. The stu- dent, as he passes from singing to chanting, from chanting to talking, quickly perceives the value and importance of the tone-centre. Words are the language of the intellect; tone is the language of the soul. We have as many qualities of tone as of feeling, else our tones would not voice our feelings. Human tone has its colors and its forms. All our uttered thoughts have to pass through tone-forms; the mental and spirit- ual qualities are felt and heard according to the degree of perfection in form. As the physical organs develop under right mental training, they respond to more subtle con- trol, effecting, at last, that rare result, the artistic expression of personality. Order of Work, Order of Work. Mental Preparation for Voice and Breathing. Attention. Interest. Desire. Attitude. Breathing and Voice developed together. Unvocalized Air Necessary to Vocalized Air. Life Chamber. Breathing. Life. Vacuum. Clarification. Reception. Weight. Expansion. Centre and Form. Air-centre. 46 Order of Work. 47 Articulated Tone. Resonance of Articulated Tone. Centre of Articulated Tone. Form of Articulated Tone. Quality of Articulated Tone. Tone-line : Physical and Mental. Relation of Quality to Pitch. Relation of Sensibility to Quality. Graded Tone-quality. Unified Tone-qualities. Catechism. Catechism. What is the main concept in the produc- tion of musical tone ? The mental tone-line. What is the mental tone-line ? An imaginary line, curving from the mouth outward and downward, corresponding to and controlling the physical tone-line. Of what is the mental tone-line com- posed ? Of mental tone-points, or tone-centres. What do we think in getting a mental tone-centre ? A downward curved line. Why? 52 The Tone-line. To secure the muscular adjustment that gives the corresponding physical tone-centre. What is the course of the mental curve when the voice passes from a lower to a higher resonance ? It lengthens downward. What is the course of the mental curve when the voice passes from a higher to a lower resonance ? It shortens downward. Does the mental curve directly affect the organs of articulation ? Yes. Why are the organs of articulation af- fected by the mental curve ? Because the curve is the mental action that controls the muscles in the formation of tone. Catechism. 53 Why is the mental tone-line the main concept ? Because it controls the physical tone-line. What is the physical tone-line? Nature's way over which the voice travels. It is a graded line of physical action which gives the shade and size of tone belonging to the pitch, from the large and dark tones, which find their resonance in the trachea, to the small and bright tones which find their resonance in the anterior nares. What is the life chamber of the voice ? The highest chamber of resonance. What is the special function of this chamber ? It frees all the other chambers of resonance. Why free the resonance chambers ? To develop the germinal points. 54 The Tone-line. What is a germinal point of tone ? A centre of developed resonance, or a tone-centre. What is the position of the lips in the de- velopment of the germinal point or tone- centre ? Closed. What mental aid should accompany this development ? Forms that appeal to the mind's eye. What is the true articulated form ? A perfected outlet for the voice of in- telligence. How is the perfect outlet for the voice secured ? Through a series of imaginary curves, care being taken to retain the germinal point. Catechism. 5 5 What name is given the germinal point of articulated tone ? The articulated tone-centre. Of what are articulated tones composed ? Of vowels and consonants in all their com- binations. What is the office of the articulated tone- centres ? They free the vocal organs from friction, and bring them into unity with thought and emotion for the production of musical, living tone. What forms and maintains the articulated tone-centres ? Physical drill directed by right mental concepts. What name is given the condition of mind that controls quality and pitch ? Quality-atmosphere. 56 The Tone-line. What is the test of vowel form ? Centred tone. What is the physical result of perfectly related quality and pitch ? Freedom and precision of muscular action. What is the physical result of imperfectly related quality and pitch ? Frictional and conflicting muscular action. Into what two great classes may vocalists be divided ? Into singers and noisers. What saith the soul to the singer ? "You are to me as the light is to the morning; you shed me abroad in all my splendor." What saith the soul to the noiser ? "You deceive yourself, but not the people. They know that my secret is not to be found Catechism. 57 in a mechanical philosophy ; that my tones are not to be caught by means of claptrap, nor by OTWJc/^-trap." How may an ideal tone differ from an ideal of a tone? The ideal tone is the perfect tone. The ideal of a tone is the best conception of a tone that one may have, whether it be right or wrong. Index. Acoustics, 13. "Ah" and tone-centre, 37. Articulated form, 33, 54. "Break," The, 31. Breathing, 20. Crescendo, 29. Curve concept, 25, 27, 52. Definiteness and quality, 39. Diaphragm, 12. Diminuendo, 29. " E " for first practice, 37. Eliot, George, 16. Emotional science, 16. Falsetto, 30. First principle, The, II. Germinal point, The, 33, 54, 55- Ideal tone, The, 15, 57. Inarticulate sound, 33. Individual voice, The, 14. Larynx, 12. Life chamber, 33, 53. Lind, Jenny, 43. Lips, Position of, 54. . "M" with vowel "E," 37. Mental aids, 39, 54. Mental attitude and control, II. Mental curve, 25, 27, 51. Mental tone, 12, 31. Mental tone-line, 28, 31, 5i> 53- Mental tone-centres, 27, 51. Mind controls, 1 1 . Muscles, Relaxing of, 20. Musical tone, how developed, 36. Nares, The, 25. Pitch, 13, 26, 29, 33. Quality-atmosphere, 55. 59 6o The Tone-line. " Registers," 31. Resonance, Development of, 34- Points of, 25. Singing and talking, 42. Singing-tone, 43. Song, Art of, 1 8. Speaking-tone, 43. Syllables for practice, 41. Talking-voice, 43. Tone, Definiteness of, 39. Germinal point of, 33. Graded, 28. Ideal, 15. Language of the soul, 44. Origin of, 18. Quality and form of, 39. Tone, Roundness of, 41. True, 39. Tone-centre, 25, 27, 33, 35, 36, 39. 44- Vowel " A " and, 37. Vowel "E" and, 37. Tone-form, 36. Tone-line, Mental, 24, 53. Physical, 24, 25, 26, 32, S3- Vocal methods, Tendency of, 19. Voice, Compass of, 14. The individual, 14. Musical, 19. Vowel formation, 27, 56. CSB LIBRARY UC, X- UC SOUTHERN REGIONAL LIBRARY FACILITY A 000 61 1 060 5