UMASS/AMHERST 31EDbt. DID? T4ET t. MYER THE VOCAL INSTRUCTOR WERFEL COLLECTION SCORE MT 825 M94 1918 DATE DUE UNIVERSITY LIBRARY UNIVERSITY OF MASSACHUSETTS AT AMHERST SCORE MT 825 M94 1918 0«-M4^ ■JS63 DATE DUE 1 GIFT TO UNIVERSITY OF MASSACHUSETTS LIBRARY from THE LIBRARY OF ALMA MAHLER WE REEL Digitized by the Internet Archive in 2011 with funding from Boston Library Consortium IVIember Libraries http://www.archive.org/details/vocalinstructorOOmyer THE VOCAL INSTRUCTOPv BY EDMUND J. MYEFk PHILADELPHIA, PA. THEO. PRESSEPv CO. 1712 CHESTNUT STREET Copyright, 1913, by Theo. Presser Co. Copyright, 1918, by Theo. Presser Co. British Copyright Secured REMARKS The vocal profession today is as much in need of definite, logically formulated systems of study as it ever or always has been. The training of the singer from the musical or artistic standpoint, thfc art of song, is one thing; the training of the singer or student from the technical or voice development standpoint, the science of voice, is quite another thing. This work is a practical, conamon-sense system based upon nature's laws or demands for the study and development of the staging voice — principle following priaciple in logical sequence. It is a fact born of experience; of many years studio experience in New York City and of the National Smnmer School for Singers and Teachers on Lake Chautauqua and Round Lake, New York. It is, in fact, an evolution. The main object of this work is to give to the vocal profession, for the first time in print, the movements upon which the whole system is based : the stunts, the singing movements, the physical exercises, d,nd the nerve callisthenics. These movements develop the siager physically and vocally. They strengthen weak throats, weak adjustment, weak chests, weak control, and weak, um"uly nerves. Man has a dual nature — mind and body, mental and physical. The singer is more than a man. He has a threefold nature — physical, mental, and emotional; body, mind, and soul; but few are equally or co-ordinately developed in these three attributes. Most systems neglect the instrument, the individual, and think of tone or voice only. They also attempt to use the singing voice without the technic of singing; hence physical, mental, and emotional depression. Depression is today the greatest and most prevailing error in the vocal world. The study of the way, the way of doing, is at first a thousand times more important than the study of the tone. When the way is right the tone always comes right. Today we know and understand the phenomena of voice as never before. By the phenomena of voice we mean the movements, the adjustment of the parts, the conditioiis which prevail dur- ing the act of correct tone production. A constant study of the phenomena of voice has lead to the development of the movements — I might better say the discovery of the movements — which we call the singer's position and action. These movements are a study and development of self. They develop all the forces of the singer — ^physical, mental, and emotional — and thereby induce indirectly or automatically all true conditions of tone. In order to make their study easy and definite we use the simplest exercises. There is no strength properly applied except through movement. A static condition means local effort, and local effort means artistic defeat. PART I PHYSICAL A study of the movements. A study of technic. A study of the two great physical forces — ^motor power and control. PART II MENTAL A study of physical and mental energy combined. A study of the influence of mind over matter. Singing is more mental than physical. 3 PART III EMOTIONAL A study of emotional power and energy; the inner, higher nature of the singer; the singer's sensation. A study of the third power, the only power the scientifically trained and truly gref\t singer knows. Singing is more mental than physical and more emotional than mental. Every correct and successful vocal system or method is based upon principle, theory, and device; upon a fundamental principle, a theory founded upon that principle, and the devices used for the study, development, and mastery of the principle. Of course, it is impossible in this work to give theory and device in full. The interested student, the seeker after the truth, will find everything given in detail in the books hereafter referred to. Edmund J. Myeb. This instructor is founded upon the principles given in Mr. Myer's works or books, as follows; "Truths of" Importance to Vocalists," 1883; "The Voice From a Practical Standpoint," 1886; "Vocal Reinforcement," 1891; "Position and Action in Singing," 1897; "The Renaissance of the Vocal Art," 1902. PAET I PHYSICAL The First Principle The first great fundamental principle of artistic tone production is freedom.^ the, removal of all restraint. Theory Correct tone is the result CFf certain conditions — conditions that are in nature, conditions demanded by nature. These conditions are the result only of correct form and adjustment. Form and adjustment to be right must be automatic, and never the result of direct or local effort or influence. Devices The devices are the studies which follow. Conditions 1. Free, Hexible, vitalized bodily position and action. (Energy instead of effort.) 2. Natural or automatic adjustment of all the parts, especially the organ of sound — the larynx. 3. Automatic form and inflation of all the resonance cavities, the great reinforcing power. 4. Approximation of the breath bands, the false vocal chords, the great natural controlling force. 5. Equal pressure and resistance of the two great physical forces, motor power and control. 6. Automatic articulation. 7. Physical^ mental, and emotional energy' or vitality combined; the body, mind, and soul in action. A STUD? OF THE MOVEMENTS OF THE SYSTEM The Singer's Position and Action Study the Stunts and the Singing Movement slowly and carefully. Think out and work out each numbered line or paragraph before going on to the next. The movements are very simple but very definite. It is difficult for the student or singer to realize how simple and natural they are, — to realize that tlirough them he does freely and naturally those things which the aver- age student believes — or is made to believe — he must do by con- scious local effort; to realize that they induce all true conditions of tone through automatic form and adjustment. They com- pletely change the average singer's viewiroint of free, beautiful tone by arousing new sensations through correct thought, feeling and action. They develop the true technical production and con- trol of artistic tone. 6"^ A— B A STUDY OP THE MOTOR POWER Stunt No. 1. 1. Stand in an easy, natural position, weight on one ioot (either one). 3. Place hands and arms as indicated in Figure No. 1 by A-A, pahns up, elbows touching the hips. 3. Move hands and arms easily to position indicated by B-B and back again. No effort, no rigidity, the center of thought and action at the elbows. Note. — Always keep the palms of the hands up and so level that water in them would not spill. If the arms turn or twist, the influence is lost. Hands and elbows must move in parallel lines. If the hands swing out and back faster and farther than the elbows, the movement is of little value. Do not move the elbowfi FiGUBE No. 1. VI out more than four or five inches. When sure that this movement is correct and natural, then study Paragraph No. 4. N. B. — The way of doing at first is a thousand times more important than the tone. Wheu the way is right the tone always comes right. 4. Stand in an easy, natural position, weight on one leg or foot. The kaee of the other leg will naturally and automatically bend. Now let the elbows say to the hips as they move out, "Follow us," — a definite mental suggestion. This is the movement we are after, the outward automatic free movement of the hips. Move the elbows four or five inches only. 5. As the elbows move out, straighten the bent knee, easily and slowly, and think and feel the hips moving out with the elbows ; elbows and hips moving together rhyt hm ically as one. The knee straightens when moving out and bends on the return movement. Do this movement easily and naturally and until it becomes an automatic right habit. An imaginary line around the body midway between the hips and the thigh indicates the center of activity of this movement. There will not be much movement of the hips, but there will be a full, free movement of expan- sion of all the muscles mentioned below. K. B. — Do not let the body sway to the right or to the left and do not shift the weight from the firm foot to the bent knee, leg, or foot when moving; it stiffens every muscle of the body, causes rigidity and makes success impossible. There must be no local pulling in, pushing out or gripping of the muscles, especially of the diaphragm or of the abdominal muscles, so common with singers and teachers but which is a direct violation of Nature's laws. Think of movement, of action, of gesture, but not of muscle. Note. — This movement automatically brings into action the abdominal muscles, the dia- phragm, the intercostal muscles and the dorsal muscles, co-ordinately. These combined as one in movement constitute the motor power, the driving force of the voice. They must be made to do team work and it can be done only by free, flexible movement, never by conscious local effort or control. A STUDT OF THE CONTEOLLING FORCE Stunt No. 2. Q Q All singers are naturally stronger in the drive or motor power than in the control or resisting force. This is due to several causes or conditions, princi- pally to a wrong direction of effort due to a wrong direction of thought. We read many articles on breathing in singing, but seldom anything definite on the question of control, the impor- tant but much neglected side of this great subject. Students are taught to place the tone up and forward with- out any idea of correct resistance or control. Eesult, a pushed-up larynx. Under these conditions they are com- pelled to use throat muscles in control and often the larynx itself, — ^muscles that should never be used as resisting or controlling muscles in singing. Na- ture compels this in order to save the voice from immediate strain. In this way the voice or the instrument is un- seated and the tone purely muscular. A correct technical training of the voice consists in developing the control to equal the drive, — equal pressure and resistance, which means poise, freedom, ease and beauty of tone. Figure No. 2. vn 1. Stand in an easy, natural position, weight on both feet. Extend the hands and arms later- ally, hands open, fingers straight, palms down as indicated by A- A in Figure No. 2. 2. Let the hands swing down easily, freely and quickly to B. Bend the knees a little as the hands swing down, but do not let the body bend forward. 3. Let the hands overlap naturally a little at the knees (B) and bring them up quickly with a free swing towards the chin (C). As they approach the chin the finger tips touch, plams down, hands open flat. The open hand means life, vitality. 4. As the hands approach the chin slow up the movement, but do not stop them at the chin, retard only. Then move them up and out slowly, always slowly, to D-D, describing a slow, full, high arch. When they reach D-D, swing them down again quickly, past A-A to B, and thus repeat the movement a number of times. 5. When the movement becomes free, easy and natural, let the palms of the open hands say to the chest in passing slowly from C to D-D, "Follow us" — a definite mental suggestion. The' chest should then lift, expand and follow the hands up and out, freely and naturally. No rigid- ity, no local effort. This is the movement we are after, — the free movement of the chest. Note. — The hands suggest the movement to the chest. The movement of the hands and the movement of the chest must be rythmical, as one movement, a most important point. Think of free movement, of gesture, not of muscle. Practice ■ this until it becomes a right habit. This movement brings into action automatically the chest and all of the muscles of the back co-ordi- nately. These combined, together with the approximated breath bands (The false vocal chords) when the instrument is in artistic adjustment, constitute the controlling power or resisting force of the voice. This controlling force when properly developed, when equal to the driving force, relieves the throat of the necessity of all local effort and makes possible the desired free, spon- taneous, beautiful tone. No singer can fully appreciate the value of correct automatic control until he has mastered it. N. B. — The way of doing at first is a thousand times more important than the tone. When the way is right the tone always comes 'right. A STUDY OF THE SINGING MOVEMENT Motor Power and Controlling Force Combined- After having, to a certain extent, mastered the two preceding movements, then take up the study of this, the Singing Move- ment, the movement we always use, in this system, in producing, developing and controlling tone. This movement is practically the famous "Singer's Position and Action." Approach this movement slowly and carefully. The student or singer who works it out cor- rectly, who practices it until it becomes automatic, until it becomes a part of self, has mastered or overcome all technical troubles in the production, development and control of tone, especially the control. This principle of control means automatic breathing and absolute automatic breath control which is a godsend to every singer who masters it. This singing movement when mastered does prac- tically everything for the singer. 1. Stand in an easy, natural position, weight on one foot, hands and arms hanging by the side (never front) as indicated by A-A in Pigue No. 3. 2. Turn the palms of the hands out slowly by a turn of the wrist and forearm. Point the fingers out and down at an angle of about forty-five degrees. Always point out from the sides of the body, never towards the front; always keep the palms up and out, and not the backs of the hands. Palms up means life and energy. 3. Move the hands out and back to B-B until the movement becomes easy and natural, but Figure No. 3. Vlll never more than five or six inches. If the hands are moved too far, the movement will be of little value. 4. Standing on one leg or foot, knee of other leg bent, let the hands say to the body, the hips and the chest, "Follow us" a definite mental suggestion. 5. Move the hands out as suggested, slowly straighten the bent knee, and feel as though the body were lifted up and out on the open palms. 6. Bring the hands, hips, chest and bent knee into action rhythmically and co-ordi- nately as one movement. N"o rigidity, no efi'ort. At the suggestion of the movement by the hands, make the body light and flexible in moving up and out, but do not sway to the right or to the .left. When moving do not shift the weight from one foot to the other ; it stops the movement of the hips — so important — and makes every muscle of the body more or less rigid. WoTE. — The success of this movement lies in bringing into action, in a very flexible way, the two forces, the motor power and the controlling force as studied in the two preceding movements. The object is to develop co-ordination of the two physical forces, equal pressure and resistance, life, energy, vitality, freedom, automatic breathing and automatic breath control. This movement is not a conscious local effort; it is an eloquent gesture of the body. Think of free, flexible move- ment, and not of muscle. When the movement is right, all muscular action comes right automat- ically. ISTature takes care of this. Think of it! Trust the movements! Give them a chance! You will never know their great value or their wonderful influence on the voice in every way until you have mastered them, until they become a habit, until they become automatic. Practico them very much without tone. ]Sr. B.- — The tendency in studying this movement is to move the hands too fast and too far. When doing so all influence over the body and the tone is lost. Hands and body must move rhythmically as one. Eejiahk. — In the production of tone and the development of the voice there is no strength properly applied except through free, flexible movement. A STUDY OF ONE SINGLE TONE The foundation of all successful voice development is the correct production of one single tone. The first start of tone is the most difficult thing the student has to master. A correct single tone means practically aU true conditions of tone. Put yourself and keep yourself, by the use of the movements, on a level with the tone. The tendency of the great majority, even among the so-called "trained," is to be constantly below the level of the tone, below the demands of the tone. Nature's demands physically, mentally and emo- tionally. Hence physical, mental and emotional depression, the prevailing great error of the vocal world. A STUDY OP THE LEVEL OF THE TONE Start of tone aA or ha B, Level oTtone ^c £„^ ■si- ■#- 13 ^ ^ ii P f ^=^ f=C t^=^ # ^ ffs ■S- -0- ^ ■»■ te i te n \^^ Tf~ ^^^ S fe ^ S ^Pi ^ ^= t* P^ -^ -# ^m azi -• — L_^ d d d'=^=^ ^ 31= HI m 10 VOCAL INSTRUCTOR tf: tt B -o- ^ ^ ^ ^ ^ S *A a ^^ ^ ^ 4 g.Usp ^ a-rjw' * ^ — I* ^ i2 « 0- ri rt o «. ^ =^ p^ 9 P- t fefe ^ ixe: -o- ^ ^ J I 'j '-^i i ^Vh^ j^ j g ji ^^ ^ ±J. -« ^ _ ^ 1 ?! ^ :# P I ffi W * ni ^ use i I ; , *> «l W "T^" -^H- a ^ 4 ^ } If ^^ ^ M il ^ ^^ ii ^ J^ ii_ 1S" i»- ^i i ^j ttii &J e eg e !>< ^ g ^ 9 r ^ ife ^ i 1^ idjzt ^ a-t-^ u>.i!^ [iJ i ^ ■to- i * ^ fS- if- sz :^ -a»T ^ H — 1^ irzzitez S 2. 9- S «. «. ,2. -9^ VOCAL INSTRUCTOR 11 A STUDY OF THE MOVEMENT ASCENDING AND DESCENDING Put yourself and keep yourself upon a level with the tone by moving or going with the tone. The way at first is the important consideration. DIAGRAM NQ 2 Level of first tone y'a %■%- -Q-mha End of la.st tone A — • — Repose E — ■% — Repose Use Ya on the first tone; it starts the tone forward. Use Ha on all other tones of the arpeg- gio; the H releases tiie throat, phonetically small h, large A. Sing every tone strictly xtaccato. Move freely and easily from A to B. The instant the body reaches B, and it takes but an in- stant, let the voice join the movement. Voice and body moving together to C. When C is reached, the singer must be physically upon a level with it. The movement starts at A and never stops until the C is reached. If this has been done properly, when C is reached, the singer will have aroused automatically the energy and strength necessary for or demanded by the highest tone of the arpeggio and the careful student will soon know or realize it. The instant C is reached, without stopping, let body and voice move down together, the voice stop- ping at D and the body at E. The tendency in moving down is not to allow the body to move down freely and easily with the voice. The tendency is to hold the body too high and thereby compel local effort. Never locally make the voice or tone staccato, or locally influence the action of the mu soles. WTien so made or influenced the effort is always at the larynx. This is an absolutely false and hurtful staccato. When properly done, the staccato action is felt at the diaphragm and the abdomenal muscleg. The action felt at the larynx is automatic, is a reflex of the action of the diaphragm and the abdomenal muscles. The muscles act au- tomatically and the tone is staccato because we think and feel aright, because the movement is right. In this exercise or arpeggio we study, in a few seconds, the first and correct start of seven different tones. No one can fully appreciate the value of this staccato movement until they have at least partly mastered it. 12 VOCAL INSTRUCTOR A STUDY OF DIAGRAM NQ 2 Exercise N« 2 Stnccato f'r ^jj^^j'jjj V i •> m^j.j-'h^jsi^y t '> ^ Ya ha ha ha ha ha ha La la la la la la la ii'il .MJ>J'i %t . k h ^ m ^ T^W^ ^ rp^ '"/n I f- 1 1 j' m ^ iSES^ ^ 4 I'^'H ^ ^^ -^'— 1--^ g^;;^^ ¥ I ' I- J J' ' ^ p ^^^^m ^^ ^'' i ^'i h J^ J' e J^ J^ ^p «¥= s p f ^^ t p ^ ^^ $ ^ jj^ J' p J' J I J ^ > f J i n ;> J f ' f J' I J V ^ m 53E^ ^^ ^" 1 ' U' ^ g r J i^ ifP ^ gEte^ a i * ^ I V bU ^ ! ' 4- ft r F ii m t •> I I^J^j'p SEiESESJ ■r j: » ^'P ^^ p ' p^^^ ^^^ ^ ^f~W ^^ y^A + ^ * ^' i 7 !> « m ^5 #— :/ — 1» F P ' P P I • VOCAL INSTRUCTOR 13 ^ i */ J » ^'P P ^^ F V j; 7 teF=^ W « — b — ^ P P ' P F -^>'- ^'i.^'' J: ^ ^ ^ ^ ^^i'J'p F ^ ^ ?iS i ^'1> J' p li ^ P f!-+^^ < f l^U'' p f! ^ P (i I .^=^=j^ I ^V J' p P T^ P ^l^^^ft-p iiJjy^'p P ^ P p I J ^^^ ^ i i i ^^ 1^^^ mn -w 4^ " Ai r . tHKf i ^,pP''Pg i r^:=fcjjjf»iipFP''Fpir^ 1^ eifl •?= f » ^ *> UESE P i 1 I *^ fl t'l.^ tJ^^C J'J' y i M l '^jJJ'pJ'J^lj -^ * v| | t'i-;j^pPp. ^^ P #^t ^jj'p'J'J'lj yp 4f T I JJ'JyJ'J ^g ^^ ^ i I ^ ^ ^^ ^ ^ » M *' =^ i V ■J ■ J i ■^- " -I ■ 14 VOCAL INSTRUCTOR A STUDY OF THE REVERSE MOVEMENT It is an old and well known saying that the "exception proves the rule." The rule is: when singing up, move up; when singing down, move down: when singing level movements, main- tain the level. All for the purpose of putting one's self ;ind keeping one's self on a level with the tone. But we will find exceptions to the rule. It will defieud upon the effect we desire to pioduce. DIAGRAM NQ 3 ^ Q Position of body upon lowest tone Level of first tone Level of lowest tone This diagram or figure is of special value for the study of the third thought in the formula given: lift-expand-let go. In ascending there is, of course, increased tension of the vocal muscles on the higher lones and it is more or less difficult to release the interfering muscles, la descending there is constantly less tension, hence all local effort or interference is more easily overcome. Sing down on Ah from the level of the first tone A as per diagram NS 3. Start about the middle of the natural compass, find the level through the singing movement. Do not move too much for the first tone. Sing down to B and move hands and body up or out to C, more out then up. The voice and the movement must be rhythmically as one. When sing- ing down, release everything above the chest. Drop the jaw a little and let the tone come full , free and continuous. Make no local effort to hold or control the tone. Give it absolute freedom. Trust the movement, the outward movement, and it will take care of the tone. The tendency in singing down is to depress the body and the tone, hence relaxation or local throat effort to control. In singing down, if the student trusts the movement, he will soon find that it is inducing correct form, adjustment and support, without which there are no true conditions of tone. The upward and outward movement, if right, is always the application of vitality,strength and support. This is a developing movement, opens the form, gives freedom and vitality to the voice and extends the compass both ways. See the Renaissance page SO.WTien a certain a- mount of gain has been made on Ah, then study and A in the same way. is a strong tone because it's form is naturally elongated and elongation is the natural form of the singing voice. A is often a weak tone because it is naturally a flat arch.On we get easily the added resonance of the nares and the reflected resonance of the chest and all inflated cavities. Place and reflect the A much the same as the O.The student should, of course, know and un- derstand the transition of the registers at all times. VOCAL INSTRUCTOR 15 A STUDY OF DIAGRAM NQ 3 Exercise N2 3 iirmr f H i 'i i Vrr^r ^ ^ i^^rj-frn t¥tff^^ H=Uji^ '^iUii^^ m ^m «s ^'~0r^ m # r1»- M i t w i h~r-i~T i' i . T -J I J » ^ ?= ? ^ ^ ^i i ^ ^: ^^= l3tEi= «- • ^^ ^*^ :gr-»r- T*^ V »- -^ 3^- ^^^ ^^ ^: 4- t ', h a f^^ i ii o J J I. /^"^n^ £^ « — «^ -• — I — •- t^tm^ i^S: Pi *^ ^ t: fm^ b:# # >^>H'i>^ - j j: -g ^J~j IL ;. U m •^*- 16 VOCAL INSTRUCTOR t ^^ ^ ^ ^ i W\K i^ * — ^w * — ^w te tt fi ^H 3=J: ^: 5 1^^ ^5 SF^ ^ ffi f ^^: ^ ^ !>■ .1 -Hr?:: TF ^ *■ i^ ft i=i=J^ tEt See* ^?*3 ^f^ "^^^ *A We ^ff > >: J J J- f^ P^^^ ^ f^ P ^^ ^F^^^ ^=f^ I ^i II H ^ ^TJ ^ 1 ^ ^ r? ■22" hyji» r r i i >rr r i r ^ ^ n ^ — ^ ^ ^ lll>'l> i^E 9 ^ rp=^ ^ ^ S f } }^^ ^ Z - ^^m n Si ^ i-^i j-^i - a f fwf ^ b5 ^9 Ti^ , r1^ ■ I » i t^ Whh^ r rTr j^ i ^Sfe s ^Hi^- \}}A} ' % }^ &^ ^M-i iijj-i ^m « s ^ rP^T^wi z: ST a: a: q: 3" *• VOCAL INSTRUCTOR 1/ VOWEL GROUP STUDY Group NQ 1.- lo, la, loo, le, lah. Group N2 3.- mo, ma, moo, me, mah. Sing medium power. Sing the tone just back of the upper front teeth where the tip of the tongue touches the roof of the mouth in making the consonant L. When the voice remains forward on the L group, then study the second group. Place the tone forward on the lips with the letter M. Make no effort hut think a perfectly free, flexible articulation. Exercise Ni> 4 t LigJitly ^^ "^m g ^ i J ' i' ^ I i ^ Lo la loo le lah Mo ma moo me mah Do da doo de dah Bo ba boo be bah ^^1^ 3E^3 f ir~r-n -» w Ro ra rah Ro re rah Ro roo rah i te I * ?^ rt w m T f i © f n^ T H m s v^w m T=^ \>¥ m fe m^ ^^5 feH^S5 jCia±a=t3t • • m • ^—0 m i-'' i ¥ J'J'J-tf^^i l l 'j'J'J'JiJ t ll tV' J-J'J'J' l J ! I I 18 VOCAL INSTRUCTOR P j } ^ s S ^ *^4^ffi:.H^-i-imtppppir ^ *h -^ ■ ■ d m^^ i m «A 3^i ^^^ ^ ^^ « ^ e^ *^ i3 F=f c| BpflB i r < ii ^'i>^p pppir ^ I' l 'PFC^ fe ^js^^g fa» . p » l i n^^r ^ ESEt ?^i. m^>\^-i-^mm> \ r i i^ppfp i t » iWFFI ^ A'i, r r ir » ii *"r r~tf^ ^ r J m ^m ^ *fc= B m a ^ ^ ^ m*^ ^ * I ft fe*: 19 VOCAL INSTRUCTOR A STUDY OF THE PHYSICAL DEVELOPMENT EXERCISES The following exercises sfiengthen the throat, the chest, the lungs, nil the breathing and controlling muscles, but they especially strengthen tfie extrinsic and intrinsic muscles of the larynx, the adjusting muscles. When the position of the larynx is weak, the shake or the tremolo is almost always in evidence. Many singers, in order to overcome this weakness, resort to local throat effort. When the adjusting muscles are strong and equal pressure and resistance prevail, the voice is always free and steady. These exercises also induce inflation of the resonance cavities, especially the ventricles of the larynx, so important. They make of the singer a perfect instrument. They are purely physical exercises and not singing move- ments. The student who will practice these physical exercises systematically can increase his progress at least 50 ^o in a given time. PHYSICAL EXERCISE N9 1 Figure N9 4 .— D Stand in an easy, natural position, hands and arms as in- dicated by A and BB; hands closed and on the chest, hands and arms on the same plain or level, the elbows must not droop. Move the hands out to CC. Move out vigorously as though try- ing to put the closed hands under the arms or in the arm pits. Do not pull the elbows back or depress them. When the hands are at CC a line drawn from elbow to elbow from D D should pass directly through the centre of the neck. This is highly important. Move the hands vigorously back and forth from A to CC. When moving -out to CC pull up the chest and pull down the chin. Let the chest and chin meet as it were but never let the top of the head drop forward, a general tenden- cy. Pull the chin straight down. When the hands go back to A, the chest and chin resume a natural position. When hands, chest and chin move co-ordinately, then draw in a full, quick breath through the nostrils when the hands are moving out to CC and release the breath when the hands come hack to A. 20 VOCAL IN8TRUCT0R This combined movement out and back.whicli we call one stroke, puUs down automatically the larynx, inflates the cavities of the larynx iind approximates the breath bands. In this way the adjusting muscles and the controlling- force, the weak point with all singers, are won- derfully developed and strengthened. Do quickly from five to ten strokes without stopping, then again and again. Use judgement as to strength or energy applied. Never overdo. Gradu- ally increase the power. PHYSICAL EXERCISE N9 2 Figure N9 5 Stand in an easy natural position, hands and arms as indi- cated by AA hands closed. Move hands and elbows out to BB. Hands and elbows must move in parallel lines.This is import- ant. When the hands and elbows move out, pull up the chest, pull down the chin and breathe as per instruction given in Exercise Ne 1, Figure NQ 4. Never move the arms out more than eight or ten inches. Do vigorously from five to fifteen strokes without stopping. PHYSICAL EXERCISE N9 3 Figure N9 6 Stand with arms and hands as indicated by AA, move hands and arms up to BB and back but do not raise the shoulders. When moving up, follow instruction given for chest, chin and breath. This is a powerful movement. The three physical exercises given, while they embody the same general principles of development, yet each one brings into action in a certain more definite way, a different set of bodily muscles. They all, however, influence directly the adjust- ing and controlling muscles. 21 VOCAL mSTRUCTOR PART II MENTAL Singhig is more mental than J)hysical. It is impossible to tell just when the mental be- gins to dominate the physical. No one can think an exercise or movement until he hfis, to a certain extent, mastered it in a mechanical way. No one can do an exercise or movement per- fectly until he can think it aright. There is no dej^inite knoivledge except that which is born of experience. In the first part of this work we studied the physical demands of the tone. We now begin to study the mental demands of the tone combined with the physical.Thebody must be trained to respond automatically to correct thought. The Second Principle Automatic breathing and automatic breath control The greatest problem for the singer solved in the 19th century, solved through the move - mentSjthe singers position and action. The breath is gotten through movement and sustained from position. -7%e movements in- duce correct adjustment of the tarynx.When the adjustment is right,the breath bands ap- proximate automatically and absolutely control the exit of the breath,- nature's most won- derful provision for the singer and the singing voice. Theory . The singing breath should be unconscious or rather as subconscious, as involun- tary as the vital or living breath. Devices. Expand to breathe, do not breathe to expand. The first is natural and right. The second unnatural, artificial and wrong. Sing a tone about the middle of the natural compass of the voice as per diagram NS 1. If you have the habit of taking a conscious breath, as most singers have; if you draw in the breath locally, you can overcome that pernicious habit in one vay only. Practice moving from the level of repose to the level of the tone without consciously breath- ing before moving. So long as you breathe before moving it will be impossible to get a right breath. If you feel that you must at first consciously breathe, breathe with the movement when moving up. If you get the movement just right, acting through correct thought,you will soon find that you need not give breathing a thought. Get the breath automatically by the ex- panding movement in ascending and control from position the level of the tone. When you have thus acquired automatic breathing and automatic breath control,you will have mastered the most difficult problem that the vocal profession has to contend with. 52 VOCAL INSTRUCTOR A STUDY OF ASCENDING AND DESCENDING MOVEMENTS Find the level of the first tone and maintain the level of all tones by moving up when sing- ing up and down when sinking down. Sustain the voice and control the breath by bringing into action tlirough movement the two great forces, motor power and controlling force. A- void pushing the chin up and out in ascending, a common tendency which defeats everything. In singing up great care must be taken to raise the voice upon a higher plain or level in passing from the chest to the medium^ voice at F or F sharp, first space. Also in passing from the medium to the head tones at F or F sharp, fifth line. Sing first with Ah and later with all other vowels. Exercise N? 5 VOCAL INSTRUCTOR 23 fe r r r N ^ ^^ m P^^ ^ ^ g i^ We^ i ^ Jr-^-l# =fe ^gr M ■^sz. i ^ -^ m *^ ^ p ^ m ^ i # ??: ^ ii p^ t^ :«= -^ ^?^#= ^ ^ ^ Efe= ?^ ^ ^^ ^ ^ =e= ^: ^ o % ^: =F=^ -^ A STUDY OF SUSTAINED VOWEL GROUPS Sing on Exercise N2 4, page 17 Second Study Ro-ra-rah. Ro-re-rah. Ro-roo-rah. Sing moderately full, sustained legato tones. Bridge over or tie the vowels together with the consonant R. The R moves tongue and pharynx and induces flexible form. If the student finds, through the movement, the level of the tone and maintains the level from position, he can release all local effort and let or allow the voice to sing with free, spontaneous tone. Later on study the five vowels in a single group thus: ro, ra, roo, re, rah. A STUDY OF FLEXIBLE VOWEL GROUPS Bo - ba - bjo -be-bah. Do - da - doo -de - dah. Sing on Exercise NQ 4, page 17 First Study Place the tone well forward on the lips with B and on the hard palate with D just back of the upper front teeth. 24 VOCAL INSTRUCTOR A STUDY OF PULSATED SCALES Sing lightly. In singing up, move up. In singing down, move down but always cany the voice from the body. Feel the pulsation at the diaphragm but never locally compel it. In this connection I would advise that the student use or practice some light, florid,simple exercises. Exercise NQ 6 A aaaa^^aaaaI^aaaa g)t ^, J-, Ji J' J' ^' p p i p p ^'J''J' JJ^^I Ah Ah i ^ «> ^ HE s 4 8 ^ w w^ ~rr~ 3i: i^ te AAA^^ AAA AAA r^J^' -^^ p p p rp p F J^ ^ j^ j AAA S M ^^ ^ -^ ^ w w ^ fs: AAA>^, AAA ^ AAA A A AAA p F P I F p ^ J ^^ l=ii: ^ w # S -^►- !»? fi I aAAAaAAA aaaaA f- i ' }J 'J'> p p P MP P p p > A A HE ^^ h^ it ^ (^^ ^^ ^^ VOCAL INSTRUCTOR 25 S5 #=ff ^m M fe5 p^^ t: ^ XE -- — m4 I P P /I AAA aaaaAaaaaaAAa i^^J' p p C P P IP f! ff p r J^ ^ ^^ a * iui m ^ Tx- A A A A / S| i, a\aaaAa^^aaaaa\ fA^i' }i > p p p p P P I P P P p p ^ ^^§ -Ck_ S5j^ 4i: * w ZSXL Tt~ ^S -^ 1? A A A A A A aAaaaaa^^aaaaaA -}J^ p p D P P P I P P P p p-p > o o # ^ ti •Tnr- az:: m A A A A F p F P P fe^ 1 A A AAA ^ ^^ s Tt- 26 VOCAL INSTRUCTOR A STUDY OF LEVEL TONE WITH WORDS OR SENTENCES Sing sentences on single tones- Exercise N9 1, page 9 This for the purpose of learning to carry and sustain tlie volte from position on words, to Sing with free, flowing voice and with automatic breath control. A few examples of sentences: The day is bright and fair. The sun shines clear on high. To thee a song I sing. I sing a song of love. A STUDY OF THE REVERSE MOVEMENT One of the most important exercises of this work. See instructions given for the study of Diagram N2 3. Exercise N° 3 and apply it in full. Start the first tone medium and let the voice open and increase in freedom, power and depth to the very last tone. Sing down and move up or out with the full, free swing of the singing movement. First study with Ah, then other vowels. Think, feel and apply the principles of automatic control through this reverse movement. Every tone sung good or bad is a reinforced sound. Muscular reinforcement,- the wrong way. Exercise N9 *7 Added resonance of air in vibration in the inflated cavities- the right way. «=¥^ J t f J I J < < ^ ^m ^m ^=^ Pg it^E^t w ^ f m m ^^=^ i A 23 ^ M^ m i M^- r r r *;st ^^ ^m He^ m * T n w m Wt 1* 1S>-^ fea *fe SE^^a ?^ ^ ^^^ ^i^ ^^ W- i^f F ^ a W m ^M ^m O' -r^ ^ ^ VOCAL INSRUCTOR 27 i_Lr ^ J 1^ j ^^^ * i h'i>^''r ^^ JS3E ^ ^ f^ ^1.1-"^ ^ F m ^M± ^ -(S(-^ ffij te J^i^lj * ^ 1 fcEt ?^ tf S ^^ f r: ^m rt ^ ff s^ iS<-' ^''-JJJ I j^,l,^M I JJ,IJJ7Tmj^J^ Efei iJ * iJi ^ i i>, p=">f^=]fAr i f^- Tp^f fr y m m 5S ^ a I s ^=^ p P i=^ «tg j_^>):.JV^^ ^ m^ SK ?wi pf^ iJJ * iJJ ^ i- ri^ -iii jgF ^ i ^ iZj ^ ^-^- P g P p a #; 1 *? ^ ^ 1 "1^ Every tone sung ji^ood or bad is a reinforced sound. Muscular reiiiforcement-the wrong way. Added resonance of air in vibration in the inflated cavities - tiie ri^'ht way. ^^ VOCAL INSTRUCTOR The Third Principle HIGH PLACING AND LOW RESONANCE OR REFLECTION Theory. Tone, to be artistic, must be placed forward and high and reinforced or built down by added resonance through expansion ;ind inflation. Device. Place high by removing all obstruction, by inducing the true conditions through the movements. When the conditions are right, reaction and reflection occur and the low resonance of the inflated cavities and of the entire body is added to the inital tone. A STUDY OF IMPULSE, PLACING AND REFLECTION The spontaneous impulse of this study or movement on the interval of a fourth is the strong- est, the most self-assertive known for the human voice. This exercise is said to have been the original attack of the old Italian school. It may have been. It is surely worthy to have been, and more, too. 1. Sing first tone staccato. Move to the level of the second tone from the level of the first tone by impulse, using hands and Singing Movement. 3. Sing second tone with a strong impulse of the motor power. N. B, The value of this study lies in the rhythmical impulse between the first and the second tone,_the impulse or stroke of the motor power induced sponta- neously by the automatic movement, 3. In moving from the first to the second tone by impulse, lift, expand and let go sponta- neously and thereby arouse energy, life, freedom and the most natural tone of the voice. 4. Sing up, think down, not the tone, but the controlling power; never the thought on the throat, but on the chest. This will give the rebound so important and will equalize the two forces, the motor power and the controlling force, so necessary, NOTE: When moving up, think placing and reflection. Think and feel. the tone or the air current as striking both ways at the same instant The reflection follows the placing so quickly that the sensation is as though they were simultaneous. Think and feel the tone well up in the face and on the chest at the same instant,- but do not push up the chin. The whole scheme lies in the impulse during the short rest between the first and the second tone, in e- qualizing the two forces and thus securing a condition of poise, of equal pressure and resistance. As all singers are weaker in the control than in the drive, so all artistic technical training lies in developing this condi - tion of equal pressure and resistance. Until the action of the controlling force (resistance or control) is equal to the motor power (pressure or drive), the full force or value of this exercise will not be appreciated or experi- enced. Exercise No. 8 ii- \ ^ ^ W W W Ya ha or ya ah m A tt ffi Se i ^ w ^ t » fW ^ ^E ste= "$ S -^-^ VOCAL INSTRUCTOR 29 p7\ ^ j^^lA^^'' J ^ ^yt J ^j'^^''|> J ^ p te fe h ^ T ^V ^ S ^ ^ # ^ 1.' ^ ^^ « +4r« ^ # ^''T * ^ s ^te ^ ?r — S l> "7 "W -Ut 1* ^"H > i,j>> ii ^''7 * itJ'^i i 'ft' ^ * J'Hp^^^ ^'^' a t4 tf a i i ^S 7 | l> c ^W^ 8 IjiiP i ' ^ s Ift ^^ E^ m ^^^^^^^^^^^^^^ «A=F e ^ ^^'ii -J t^ ii»j- i' i i ^^ir m ^ t" W~p" ii—fi P -p m^ » fe ? I kf I i m te; ft ? — *f^ * ¥ ^ rVrV-Li^ r hb V II* r » '^ ^ M J ^ s 30 ' VOCAL INSTRUCTOR A STUDY OF SMALL FORM IN CONTRAST WITH LARGE FORM E, A, Ah- small form. Ah- large form. 00, 0, Ah- small form. Ah- large form. Sing the three vowels as one phrase, continuous tone. Start E well forward and up, full voice, natural form of E, which is small.Change to A,then, Ah, without allowing the mouth or form to open a particle, without moving the lower jaw ; then sing open, free, full Ah. In passing from E through A to Ah, small form, if power is properly applied, the energy aroused will expend itself in a better, a firmer adjustment of the larynx and in elevating the soft palate. Also the student will be more conscious of the strength of the abdomenal muscles automatically applied, so necessary to proper adjust- ment. (But never locally pull in or push out the abdomen.) The conditions thus aroused should be applied spontaneously on the full, open Ah. Use not one particle of local throat effort, a common tendency. All strength must come from the abdomenal muscles. Study 00, 0, Ah along exactly the same lines. Also study the small form of Ah and then apply the conditions aroused to the open, free Ah. Exercise NO 9 4 i t a ah o ah - , „. J ( Le la lah ' ^ 1st Study I E ( 00 "TS — ah ah lah lah -&■ m f ^ frf ^ ^ \r , — g : ^3f s ^ ^i \^ m s tf m ^ * s- 51 P' ^ # * ^ rt * E^e ^ S -• #■ ^ 1*3*= -w ^ VOCAL INSTRUCTOR 31 fe U^ a ^. 7 i tf I ii a ^^ ^ t^ -# rii^ ^ ** i tfi a i^*^ ^ '» r r r- ^ ^ ^ ^ ^* ^ ^ m s i fe fe ^ ^ I * R^i, r r r' ^ ^ :^ ^ ^ 4 ii ^ ^ ±J: H i i a B *=»=» ^ ^ fi. ^ ^ ^ ^ ESI ^= *Ar r T' ^ ^ S: i^ ii ^ s ^ il ^ m d- (^ -9 9- - P _ 32 VOCAL INSTRUCTOR A STUDY OF AUTOMATIC PLACING Find the level of the first tone. Sing down, move down with the voice easily. When the low tone is reached, by will power automatically through bodily impulse, lift the voice back and up to exactly the spot where the first tone started. This is a study where the mind or thought must rule the body. Study this first with Ah, then other vowels. Exercise 1S9 10 ^i r r r '^ ^ ^ i i V^Jtr r r 'F ^ ^ "^'^ r r i^ ^ ^ s r4- g. = 3^ ^ ^^M^ ^ ^^ ^^ < ^ tf ^4d P ^ ' ^^-^^ » i^^i ^ tt 5 ^ « — *■ m P — r^ f 9^ ^ I* ^ tESES tt* EtEt ?^ fE^sa^ ^^ s fed^^ ^ ^ 3F=W^; f^w T f ■Wi C2j,f: ^y ^ ^ ^ ^^ J i i \m l+A it^Ei telE ?^ ^—d f^ ^ ^^ « m m s; i fi^^ W * iM)* f ^ ^ ^^ SB ^ t= * • fefe fe ^^^m ^^^ ^£ JE=* *-^ ^ ^ ^S ^ ^ ^^ ^ Z. * • ^^ Hv i li* ^ i E^E VOCAL INSTRUCTOR 33 A STUDY OF THE THREE DEGREES OF POWER Exercise NQ 5, page 32. Sing first Ah, then 0, then other vowels. First. Ordinarily full, power F. Second. Medium power, M. Third. Soft or softer tone, P. The central thought of this study is to maintain the true conditions on all degrees of power. The same form, adjustment, character, control. The tendency is to sing the soft tone small and uninteresting, thereby losing all true conditions. Also study the three degrees of power with words or sentences. Study them first on single tones. Exercise l,then on Exercise 5. Use words or sentences on all exercises that will lend themselves to such use throughout the whole work. A few examples of sentences-: Fair spring has come again. come my love to me. 1 love to sing a song. My heart is thine alone. A STUDY OF THE SWELL Roo - ro - rah - ro - roo. 00-0-Ah- -00. This is practically a study of the three degrees of power combined. Begin about the middle of the compass. The success of this study will depend entirely upon The Singing Movement. This is a special study of expansion. Strive on all degrees of power to keep pressure and resist- ance equal and thus overcome the usual tendency to push the tone. Place the Roo forward and high, softly. Gradually open when expanding and build the tone downward by adding the resonance of the low cavities. WTien swelling move straight out.When diminishing, come back on exactly the same lines and finish the soft roo just where it was started. Allow the form to adopt itself automatically to the increased or diminished power. Never compel or locally influence it. Afterwards use 00 -0- Ah -0-00, following exactly the instructions given. This is a developing exercise and a fine study for placing and reflection. Exercise N9 11 P-=^f- P-=^f '^^- ^E o g ' o ' o g a a ■ o ■ aa ZSSl fTTri. Roo ro rah ro roo 00 o ah o 00 ah ^ a Be ^ -5-«- If Sf» # -^-^ ^^ m ^ 1.?^: ^t- w> ^ 33: 3s: m 33: 1 i ^s -*>- ''^^Tx «-«- ^■s- ^^ i -p ,p-=-f- a a ■e-& — ^ &-& ^ P> i 3 5V- !:!?- m-:. s: # Si ^^ ■ss WW ^ ^m zm zauz h»- o m "s^:' ^S^-G>■ :§: n 331 ~ rrr . ^ l?ir: t>-t»- ■^'- :— - CO _: 34 i 1^ -f VOCAL INSTRUCTOE j» m w= — I .. I , - IS' — |S ^ ^^^ i I*: ^ ^ B^za * t: — li': — I L iTJ ^ =0 -« — s -»- -S- g^-^ ^ fe -^ ^ a (2. 21 i /: ^ ^ f r-i p ^^ -o- ^^ i ^ ^ ?^ s ^ # =g=& #=# ga O (£ I*- t9- HE F=^ ^ i» / P if J?. / p -^ (S — ^ is — (^ -o- ts — (©- i fe ^^ =^=^ yg^ ^ « — s a i **--« — s ^ 3 ^ fi- ^ 42. j2. Si ~rt- |2. ^ ^ 5 5^ 9 9- ^ /^ i' 1^ fj r-j I «* IT'' r^ i^ :/: ^ r-J r-J I «» I (^ rj- ^E t r n r z S W=^ ^^i "-^ ||tf*> g g S s=e ^^ ■(S>- ^ w^ ■^ -^ « -"3 ^ ^ ^ g 2 Z S PCE P~=^f^^=~P P-==^f-- iS— (9- -^ l9— l5t tt 1^ |C r» P P P~==^f=—P Ijl p P , r» _ p p ^ i 6 p ^ ^ 1^ A^^ s «-e s? i 1^ s -2^5 fc^ ^^ ^ ^ ^ Si i'SL '■9- '■- Si 's>-1 « >^f- VOCAL INSTRUCTOR 35 - A STUDY OF FORWARD PLACING Sing with an easy, bright, forward tone. Use the words given in the exercise. The consonants are all subvocals placing the voice forward by the easy flexible use of the tip of the tongue and the lips. Sing quickly with accent. Sing only on the middle compass of the voice. This is a wonderful device for forward placing. Exercise NO 12 Very quickly \ m ' ^ J ^^^^^^^^^^^^^ -r — w^ w^ — r — • ' * ' — r — r — r — •^ — ' — ^ Jin - gle jin - gle jin - gle jin - gle jin - gle go the bells m The "^ c* — ^ aa i f"^^ ^ .N^Ji-i h h ^ ^^Pm ^E^^ mer - ry mer - ry mer- ry mer - ry mer- ry mer- ry bells The 4k ^ f f i TW^^ ^ ■^ ^ii^ feSI • ' • ' #' •' #' #' ^ m # ling- a ling - a ling - a ling - a ling- a of the bells The m f i T~M gJE i ^ ^ W'^ ^^^^ -4 s -I a -' m~-^ # ding- a ding - a ding- a ding - a ding - a of the bells The if =^ T * i i>^ 36 IJM^XJ ^ VOCAL INSTRUCTOR t N fe , fcv zzjs:: h K ^ N N h h ^ 9WI d d' d ^ ■m m-' — 0-^ — •-' & bing-a bing-a bing-a bing-a bing-a of the bells m^ i ^ ^^ ^ ^^=^ ^^ ^ 5=^=5 5=^=5 ts ^ . ^ y it Im m i i ^ f=f^ p* arz ^-A^-JUi-iiE,^! } \ ^ }\ }l}^ } >• M ^B i S fe i I ^^ I r — a : ^^ ^ f=l fi }' }• i > i^r^:^:^!^::^]-' | :T ^p ^3 I j. Hf ^ ^ aif m ¥ ^ g^" P M P P P P P P P -M-+f Pi i i -^i^- VOCAL INSTRUCTOR S'J m F^^ P M M f-J-t"T=^ g I r — "^ ^ i i ^^ ^ i ^ i ^— p p P P p ^—^'^ P P ^ ^^1 i i i -^ — fet^ *i » p i ij* ^ ^n B P fi Tr fi P P F P M ^ ^^F# i ^iit^ ^^ ^ * ^ ^ sr ^ ^^^^^^^^^^^S ^^=1 ^ -S l ;'>ri ii: f S ^ ^ k^ li^ -^ H 1?^ ^i b t?i ^ ^ P 38 VOCAL INSTRUCTOR A STUDY OF PLACING, FREEDOM, AND ELONGATION Le La Lah-Lah Loo Lo Lah-Lah Sing these vowel groups on Exercise 9, page 30 second study. Sing with absolute freedom of form and action. Sometimes full, sometimes soft. Let the form be perfectly natural. Many stu- dents open the mouth too wide, which is really worse than not opening it enough. A STUDY OF THE CONNECTED STROKE AND OF THE LEGATO IN ASCENDING Study N9 1.- This'study is much the same as Exercise 8, page 28 except that the tone and the action are not suspended but are continuous. Take the first tone from position and the up- per one with an accent or stroke due to the movement and an impulse of the body. Study first with Ah, then other vowels When moving up, think down, not the tone but the reaction, in order to avoid pushing and to maintain equal pressure and resistance. Study NO 3.- This is much the same as the first study, except that the movement is legato. The stroke or the impulse is felt but not heard in the tone. This is an important but difficult ascending movement. The forces must always be balanced and the form elongated automatic- ally or freedom of placing and reflection, will be impossible. Avoid pushing the chin up or out. Exercise NQ 13 1st study 2d Study m tt *= wm m^ r ' I' ^m w tf m p i ^ ^ ll> p- rt r* s^ a VOCAL INSTRUCTOR 39 i ^m ^ ^* f kJ yn JE^ P t ul v \ K Tl^f ^ ^ ^ ^ W =^ ^ai=^ ^ ^ ^ w — (9- f fe ^ f=P i ct— ^ ^ *l s j U p II I- ^-^-^-1 ^ ^'' l . (n^f^~r^ i m Mr III - # ^rt]^ m ^^ fe^^ =^ ^ ^ ^ i'^ ^^ te ^^ i 'r I I ^h> r I r j^ i- ^ te ^^RF^ (2-!- V i u i- i > r 1 ^ r^rnr ^ ^^ ^ to^ g ^ « ±^ ?1»- 1S^ ^i ^ S' -9:^ S 3^ ^ 40 VOCAL INSTEUCTOR A STUDY OF ACTION AND PLACING Sing the six vowels without stopping the voice. Move from the level of the low tone, by impulse, to the level of the high tone and back again, each time with considerable accent on the high note. Sing the second group exactly the same way. Think and place the voice entirely by the movement. The open Ah should finally place as high as the E or the 00. Exercise N9 14 fe ^ ->i ^ i'^ i ^3 E e e a e ah Oo 00 00 o 00 ah ^ ^W ^P }rgib~^ =f j~J3~^ ms^ i m t& t¥ ■Md^ A A A A A tfi ^m^ A A A SS g yc fr d j,d ;. \ ^- - t-pi^ ^ i^m f=^' p: p: sag fe A A A tt A A A A A A ^ i r MpirryTf^p i r ^"p i K p m: w ^^m pgpf n ^ pt^^'^ ' f ^^ 3fe S m ■«.• I>JL< E ^ A A * •_ m A A A A b=ld^ ■^rprMf r ^^?i p i p f^^ 1«! (► ^^2 ^ ^Msp ^ ff TgilJ^^ h i ^^^fYf44f^ t=^f ;£ ;£ ^ #-• #■ ^ •^L_j#: ^* ^ !>*• S i3E ^ S A STUDY OF FREEDOM, OF FORM AND ACTION Sing ascending and descending movements with the syllable Lah semi- staccato. Use Ex- ercise NO 2, page 13. Sometimes hold the top note two or three counts,- a valuable exercise if you have found its level through the movement. 43 VOCAL INSTRUCTOR A STUDY OF FREE PLACING AND REFLECTION Sing^ up with impulse and action and thereby place the E or the 00 with high and brilliant effect. Then sing the Ah with a new impulse and the same placing and effect. Exercise NQ 15 ^m ^^^ *t J. t ■, w Wf t* Ah ah a e Ah Ist Study Ah ah oo Ah 2d Study Lah lah lah lah Lah P^^^r^ ii m S*S3-Ti 1^ i|* gaEB^ ta * ^m ^ t ft ^53; ifc^j'^T ^ i r jEa: jT^r •'^r" i NA4 a % ^^P ^^ ^^^Pi ^f ■f^T* ^^ *; *3 ^ ^ ^ ^ j^^' r ■■ I r * V I I '■n h^ EfeSE ift^ !^ i ? i^^ =f^ ^•s^ tfe=5 w p ^ i f; jl 43 VOCAL INSTRUCTOR $ k t 1 I I ft h i' m ^ U K - rk f^m s Eft fe¥3 i- '''Ti j i tJ J'J'F I ^ ^^ ^^^ i Ib ^ ^- ^ r- t T I I u^ iss; ^ ^ pr^H s jjl s hfaifi w ^ iMs i ^ i i m' J'F ^ nr; ' tea; ^ #^^^^^r^ ^-^ 1^=4^ f^^JR^ ^ ^ ^^ ^ i i ^ 44 VOCAL INSTRUCTOR A STUDY OF THE ARCHED MOVEMENT Think from the lowest to the highest note a full, sweeping arch in ascending, also each in- terval as a small arch within the large one. Move up freely and quickly to the level of the up- per tone. Sing up, think down in order to induce reflection. Exercise No 16 ^3 ' mm 45 VOCAL INSTRUCTOR A STUDY OF THE NERVE CALESTHENICS These exercises are of special value to the weak and nervous singer. They not only give the singer control of himself but they develop him physically from head to foot. They must be used systematically; always before retiring, always upon arising. They may also be prac- ticed at any odd time during the day. A good time is just before singing.Every singer, even the most robust, should use them. Dirrrr— ir= EXERCISE NQl Figure NQ 7 Stand with hands straight up as indicated by AA, Figure N2 7. Begin by tensing the fingers. Let the tensing of muscle slowly, always slowly, follow down the arms into the shoulders, down the back into the legs, down into the feet, into the very toes. When the tensing is moving down the body, always retain it on every muscle already tensed. When the tensing is mov- ing down, slowly bring the hands to the chest BB. Have the hands reach the chest, tightly closed, just as the tensing reaches the toes. Hold a few sesonds and you will find not only hands and toes tensed and tightly closed, but every muscle and nerve of the body is firmly tensed. Release everytliing and you will find that the body has been automatically expanded and the lungs filled with breath, thus again inflating the cavities and strengthening the adjusting muscles. 46 VOCAL INSTRUCTOR Now reverse the entire process. Hands up to AA, begin tensing- at tlie toes, follow up slow- ly until the tensing reaches the hands. As the tensing slowly moves up the body, gradually bring the hands to BB, having them reach BB just as they close tight. Hold and release as before. From hands to toes we call the positive current. From toes to hands the negative current. EXERCISE NQ 2 Let the hands drop straight by the side to CC, Figure NS 7. Now begin the positive current, tensing from hands to toes as per instruction given, gradually bringing the hands up to BB. Drop the hands again to CC and develop the negative current, from toes to hands, ending with the hands at BB. EXERCISE NO 3 Begin with the hands at the chest BB. Tense from hands to toes, positive current, moving the hands out laterally to DD. Begin with the hands at BB, tense from toes to hands, negative current, moving the hands out to DD. EXERCISE NQ 4 Begin with the hands at DD. Tense from hands to toes, bringing the hands to BB. Begin with the hands at DD, tense from toes to hands, bringing the hands to BB. Always begin with and end with some one of the positive currents. The student must regulate the energy and strength used according to his condition. At first tense rather moderately and afterwards gradually increase the tensing power. It is not good to begin too vigorously. 47 VOCAL INSTRUCTOR PART III EMOTIONAL Artistic singing is more mental than pliysical, but more emotional than mental and phys- ical combined. A Study of the Inner, the Higher Nature of the Singer, the Singer's Sensa,tion, f/ie T/iirdl'ower There are three kinds of singers: First.- The Physical, the lowest order of singer and singing, the prevailing type. Second. -The Mental, a much higher order than the physical and when musicianship is added, the mental singer, .the singer with but little or no temperament but with teehnic and power, is often quite successful; at least from a financial standpoint. Third.- The Emotional, the singer who sings with body, mind and soul, the singer who appeals to you even though the voice may not be great. But when voice and musician- ship are combined, the type that becomes the great singer of the world. The Fourth Principle EMOTIONAL OR SELF-EXPRESSION T?ieory .YitaAizeA, emotional energy, the singer's sensation,the third power, is the true and only power known by the great or artistic singer. Devices. A study of tone color, tone character, feeling, sensation, the inner, the higher nature applied by the use of exercises, words, sentences, etc. If the student of this work has, to a certain extent at least, mastered the physical and men- tal, if the voice is free and spontaneous; then, he is ready for the successful study of this division. As it is impossible to tell just when the mental begins to dominate the physical, they are so interrelated, so it is impossible to tell just when the emotionalbecomes the great dominating power. With the student who has feeling, temperament, magnetism, it is felt more or less from the very start, but they are the rare ones. With the great majority it has to be drawn out and developed like any other attribute or power. 48 VOCAL INSTRUCTOR Sing tke following: sentences on Exercise N2 5, page 23. My heart is glad today. My love lias come to stay. Sing with happy thought and feeling, not thin, white tones. Not common tone, but bright tone, emotionally vitalized. If in doubt, read the sentences aloud with the sensation of glad- ness then sing them with the same feeling, the idealized tone, the singer's sensation. The very opposite of the above, sad, sombre thought and feeling will ^e found in the following: My heart is sad today. My love has gone away. This requires sombre tone, dark color and intense emotion. Care must be taken not to locally color the tone, the bright tone by singing out of the mouth, or the dark tone by locally using the throat, the common tendency. The placing of the bright and the dark tone is practically the same. In the bright tone, high resonance predominates, the result of happy feeling and expression. In the dark tone, low resonance predominates, the result of sad feeling and ex- pression. But color should never be the result of local influence. It must be automatic and spontaneous. This is the most difficult problem the student has to contend with in the study of color or emotional expression. Emotional color, character and expression must be induced and never compelled. Sing a single tone with Ah or Ha, sing a bright, happy thought, then an emotional expression or feeling, not sad, then a sad or sombre expression, and finally a dramatic tone. If all is the result of spntaneous form and expression of the inner, the higher nature, the singer^s sensation, the student will be surprised at the result and the differences in color and character of tone. There is no definite knowledge oj' the true conditions of tone except that which is acquired through sensation. Learn to use only the emotional power, the third power. It is the very spirit of the life of the singer. The third power is greater than the motor power and the controlling force combined for through it, when properly applied, all the forces of the singer are brought into action and controlled automatically. V. VOCAL INSTRUCTOR 49 A STUDY OF ASCENDING, DESCENDING AND THE REVERSE MOVEMENT Find the level of the first tone. Move freely to the upper tone and then do not fail to move down with the voice. If you desire to open and fill the low tone, use the reverse movement on the low tone only. In studying this exercise, sometimes use Ya Ha, the suspended action and stroke as per Exercise N9 8,page28.Sometimes the connected stroke on Ah or the legato movement as per Exercise N9 13, page 38. For color and emotional expression as before de- scribed use sentences, examples of which are given under the exercise. Exercise NO 17 i * i ,j i ii.'i.^ -I tf rt i'j ^J ii " 'U^ f^ Ah. Ya ha. light I love a song emotional I love my love sad My love is gone dramatic My love is false ^^ B U M 3K ^ ^ ^ -u xs ^^m ii ^m J-' itJ im f JjT^ * II ^ t B^^^! ^ w J J i>i4 SE ^3t s rt » XE -^h- zsc ;o VOCAL INSTRUCTOR ^ te ^^ t f > , p m: ii^feS ^ ^^^^ ^ g^ ^^ ^^k ir — ?; fe >^ i^ H^ g — tip S5 -«>- P^ a ^ ^ O" ^ tf A ^ ^^ k iil'i.M^ ^ s^s^ IE ^ s HE g^e ^ #^ ^ ^ ate 1-4 ^ s -^ fe£ i^ "CT" -^ i 't H'i>r ifq# g= Efc ^ ^^iM?^^ 4m tf ^ Sfc| yr^ t ^ S ■^►- ^ 3SI VOCAL INSTRUCTOR 51 A STUDY OF THE PORTAMENTO Sing with Ah, also with words first study. Use tlie third power. Bring into action all the forces. Give the tone meaning, color and character. Remember the arch of the portamento is out or up and over, an important point. When under, it is simply a slur. A FURTHER STUDY OF PORTAMENTO SECOND STUDY Following instructions given for first study in ascending, in descending care must be taken to get the level of the first tone. Then move down with the voice, carrying the voice entirely with the body and thus leave the throat absolutely open and free. Also use vowel groups as follows: Lo -La - Loo -Le - Lah, etc. Sing in chant form. Portamento on Lah to the upper tone and, without stopping the voice, repeat the group. Also reverse this by be- ginning on the upper tone and ending on the low tone. Sing sentences in the same way, making the portamento on some open vowel word near the middle of the sentence.In ascend- ing and on all reverse movements, remember elongation is musical form, but induce it, nev- er locally compel it. Exercise NQ 18 1st study 2d Study '^h j^^' — 4^%^ ^^ A r\ i r\ r^ P^^ ^ o P^ m «A mz rt lOZ s y^*.**Z : u W ^?=^ >-<■»- ^ -^ w m a n w w ^ $ ^^ 53 VOCAL INSTRUCTOR t r\ r\ 9 1 > L rJ —7- -^^^ .-^ i /C\ i* /O /C\ 1^ ^^^ i fe i=: w* — ^^ s: ^ -^ -o- i s^i 8^ W W m *y' ^^ ^J w m s zbnz M Jnc ^ J«- ^ ^ -o- lA /C\ /C\ 'f tf p r-y I (' Vfj — ^==F ^ p^s^ i ^ lA A /T\ p rr>ir i SE feE^ ^ ^ lA^ IS pz^: -^ ^^ ii TT" S M m ^ S S ^ # S ft to= ^ nn ho- "X»~ i /r\ te r\ ^m^ m r\ ^ j2_ /?\ ^^^ ^ o «> ^^ iS .. # o ^ o I^ ^3: k- J222Z ^ s ^^ ft^ ^-^ mc -^ zSz 2q_ ^ VOCAL INSTRUCTOR 53 A STUDY OF FREE FORM AND ACTION IN ASCENDING Use the syllable Lah on Exercise 15, page 42 second study. Sing with free movement and emotional impulse in ascending and repeat the last syllable with enthusiasm.Sing in various degrees of power. A STUDY OF THE HARMONIC AND DRAMATIC TONE Sing a single tone somewhat above the middle of the compass of the voice. The harmonic is softer than the soft tone. A tone without pressure or resistance; a tone which requires the full position and form of a loud tone and more conscious strength of the motor power in order to give it form and adjustment and absolute freedom. This is a very valuable study. It gives the student the sensation of the freedom of the true artistic tone. Remember that at least seventy five per cent of the strength used in producing and sustaining tone is expended in inducing right adjustment and true conditions. When the conditions are right, the tone re- quires very little strength to support it. The dramatic fei^n or tone combines th« atWed resonance of all high and low cavities. It should be sung entirely with dramatic, emotional power and expression and never with undue effort, push or physical strain so often resorted to. When the harmonic and dramatic tone are understood, then study the swell,with the sensation of the third power only and note the result. A STUDY OF ACTION AND THE LEVEL OF TONE THROUGH APPLIED MOVEMENT study this exercise on slow, sustained, legato movement with Ah, afterwards with other vowels and sentences. Care must be taken in moving from the fifth to the third above to find through the movement the level of the upper tone, the important interval. Afterwards sing the various degrees of power. Always avoid the tendency to push the chin up and out in ascending. Also study th3 swell, moving up softly and making the crescendo and the diminuendo on the upper tone and then, without stopping the voice, portamento to the last tone by using the reverse movement. Use the hands and trust the movement. Exercise N9 19 Legato i i \ m' to J i i ^ -a~i w^^ ^^ ^ p^ ^=s c:pr TT^ 'W- f f r W ^ i^ ite ^ "•Ti ^19- i J i i ll ^"^' fefe P SE^ f ^ ^ TTT i rrr wt ^ 54 VOCAL INSTRUCTOR iEE^ w W mm i W Tf~J' rfri rrr rrr ^m =r :3 r # S-s- ^1^ -*r 3ZC ^ VOCAL INSTRUCTOR, 57 A STUDY OF PLACING AND OF EQUALIZING THE REGISTERS Sing Ya Ha strictly staccato ascending and a pulsated scale descending. Sing very softly, sometimes with the harmonic. Carry the color and quality of the head tones down into the medium voice and the medium down into the chest voice. This is especially valuable for tenors who experience trouble in placing the high tone up and over and whose middle and low tones are inclined to be coarse. Good study for any voice inclined to push up the transitions of the registers. Sopranos should sometimes sing this exercise quickly with brilliant tone. Exercise N? M Staccato and very softly p-ii ppP^'ll^PFPFp I r ^ » ' |¥4pff^FFp p p|J . t . ft#f ^ m ^ fe^ ^ ^ g w m ^ m E i ^m m^ f : W r l; g- Szz^ J^pP^ i PPDpppU V* vi'i'rCir i PPpppJiJv ^ ^m r i PCBffH ^s "■b.ffr' i CBBw.jiijL.i'i, i lJj ^^ Ep? P *-^* -^-f^-^ f^ ¥=« ^^^ M Aiii' p pr i pppp pj> JJv.riFPnrrJ^ 7 jt y ^ y j^ 7 te ^T=f=R ^ 5^ ^ ^ nf^ ^ ^^-^ 3C 1 J * K* ^^ •^: -fi *=S n -#= ' — ^ 58 VOCAL INSTRUCTOR 0=i^f'Tm^m-^ , I I j], j,j, - f • H^jij> i J ^j_. g^5 3 ^^ ^ tgi^ P I Vti: ffi ^^=4t ^ ^ >- I I Ki, ^*^-^J^i=^'j >i j r r7 p'- i .^ jJ-Jy- I pfJ■JJ^;llJ^ ES h > i kiJv I «. j i h ^^ n> I, h Jw ^ Pip ^ ^f^ ^^ Ttf"-~ P ^ tte aig; ~rrf^ » ^ ' . h : ^^ *A j-7-^-v| | ¥'i | tjjjY- | J'J''j> jj, j , | ^7^7 i p^g? ^ jF F n^^?=F^ I iiJ'^'T' I ^'J'J-'^ ?W? *Aif , ijJ- 1 Jyi spa *335^ f 7 j^ 7 VOCAL INSTRUCTOR 59 A STUDY OF MOVEMENT AND THE CLIMAX Sing with a free movement and bring the voice out with a ringing climax on the fifth a- bove. Care must be taken not to push the voice on the highest tone. Remember all tone is developed from above down through a condition of equal pressure and resistance. Exercise NQ 33 ^'')i J, j, i ^^ seeeSe ^;, j, j,^^ ^ P «E m i M ^ ^ ^^ •/if f i f -g*'"^ j'^j EKiS f?^ :^ i^' i >y iw.i,j J' i :±^ ^ ^ P »=fc fF^ * ^ ' » Nv^ i ' J . f gi= ^ i i Uh f''> J'jJ tf: 7j t 7 g 7^7 5^ fe 3 M ^^i W JiK-h ^ ii^ »^^^ i^sfef^ ;>^''i> J. f- f*=^ ^te -^■^- ^ ^ 60 VOCAL INSTRUCTOR t A i\ yi\ r p I r i r ^ » i mnwrj, j^ r p I r I r ^a^ <^^'' J'prp *l S se=a ^^ ^^ ^f^p j VH'' J- f' ^H » i iisj- r tL_J Ml i V > ^ii.'i>i,i'j^i'r p 1 1"' J'J^JT P > i V I ^5 >> I'/g I . J) P ft ^^ ^^ !^ P SL :Z3 *= .l^' " I ; ^ *-4!f ^ ^^j[ JuJ^r Pi ^' ir 7^ 7 i ^'vp^'^r pi ^' ir y ^ ih ^'JJ^ #^ #M ^ Ps^ ^^5 ^^ *>'»ll p- f' 11 t:_J*= I rf ife S ^ ^ h.r P i f i f- ^ 7 J! y | |l> ff J'P S^ ^' P ^ P 7 ? 7 4'"V,i- r r f *=J i^ teE^ ^ ^ :i: P^ ^m I :2i $: 51: I f I 7 j^ 7 VOCAL INSTRUCTOR 61 The Fifth Principle AUTOMATIC ARTICULATION Theory. Articulation must be spontaneous and automatic, the result of thought and feeling and never of conscious local effort. Devices. A study of the three points or places of articulation through the use of the con- sonantal sounds, words and sentences. There are three points or places of articulation. /'irst.- The point of contact of the base or back of the tongue and of the soft palate. Second.-The contact of the tip of the tongue and of the hard palate, the roof of the mouth. Third.- The contact of the lips or of the lower lip and the teeth. In order to simplify this study, we arrange the consonantal sounds under two heads only. First.- Aspirates- breath sounds. Second. - Subvocals - sounds with an undertone more or less vocal. Some consonants are complete obstructives and explosives. Others only partial. We also arrange the consonants under three columns, first, second and third point of ar- ticulation. Aspirats Subvocals C B F D H G K J P L Q M S N T R X ' V W Y Z 1st Point of Articulation 3d Point of Articulation 3d Point of Articulation G C B J D F K H M. Q L P N V R w S Y T X Z 68 VOCAL INSTRLCTOR This study is very important and yet so neglected. This system is scientific, easily ac - quired and in every way practical. It is impossible to give it in full here, therefore we refer the student to The Renaissance of the Vocal Art, page IH and Vocal Reinforcement, Arti- cle 18, page 181. THE VOWEL SOUNDS All students of the singing voice, to be artistic, must know and understand the following general principles with regard to a right use of the vowel sounds, which practically means a right use of the voice, beautiful singing. First. - Equalization of vowel sounds. Second. - Covered tone or voice. Third.- Natural points or places of covering of the various vowel sounds. /'o///'M.- Tone color or character. A detailed study of these important principles may be found in Voeal Reinforcement. The third as given above, which is undoubtedly the most important of a 11, lias never, to my knowl- edge, been given anywhere else in print; yet the successful and natural transition from chest to medium or head voice, especially in the male voice, depends almost entirely upon a knowl - edge of the natural points or places of covering the various Vowel sounds. If this great prin - ciple, the natural transition of the vowel sounds, were better understood, there would not be so many attempts to make tenors out of high baritones or baritones out of robust tenors as sometimes happens. A knowledge of the principle of transition and color of the vowels is the key to the success- ful classification of all voices.