Resonance in Singing and Speaking by Thomas Fillebrown (books to read fiction .TXT) 📖
- Author: Thomas Fillebrown
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2. That breathing is, for the singer, only an amplification of the correct daily habit.
3. That "registers" are a myth.
4. That "head tones, chest tones, closed tones, open tones," etc., as confined to special parts of the range of the voice, are distracting distinctions arising from false education.
5. That resonance determines the quality and carrying power of every tone, and is therefore the most important element in the study and training of the voice.
6. That the obstacles to good speaking and singing are psychologic rather than physiologic.
7. That, in the nature of things, the right way is always an easy way.
CHAPTER I The Vocal InstrumentSince the vocal organism first became an object of systematic study, discussion has been constant as to whether the human vocal instrument is a stringed instrument, a reed instrument, or a whistle. Discussion of the question seems futile, for practically it is all of these and more. The human vocal organs form an instrument, sui generis, which cannot be compared with any other one thing. Not only is it far more complex than any other instrument, being capable, as it is, of imitating nearly every instrument in the catalogue and almost every sound in nature, but it is incomparably more beautiful, an instrument so universally superior to any made by man that comparisons and definitions fail.
ELEMENTSThe human vocal instrument has the three elements common to all musical instruments,—a motor, a vibrator, and a resonator; to which is added—what all other instruments lack—an articulator.
1. The respiratory muscles and lungs for a motor.
2. The vocal cords for a vibrator.
3. The throat, mouth, and the nasal and head cavities for a resonator.
4. The tongue, lips, teeth, and palate for an articulator.
These elements appear in as great a variety of size and proportion as do the variations of individual humanity, and each element is, moreover, variable according to the will or feeling of the individual. This susceptibility to change constitutes a modifying power which gives a variety in tone quality possible to no other instrument and makes it our wonder and admiration. The modification and interaction of these various parts produced by the emotions of the singer or speaker give qualities of tone expressive of the feelings, as of pain or pleasure, grief or joy, courage or fear.
Figure 1
Figure 1.—Section of the head and throat locating the organs of speech and song, including the upper resonators. The important maxillary sinus cannot well be shown. It is found within the maxillary bone (cheek bone). The inner end of the line marked Nasal cavity locates it.
TIMBRE
The minute differences in these physical conditions, coupled with the subtler differences in the psychical elements of the personality, account for that distinctive physiognomy of the voice called timbre, which is only another name for individuality as exhibited in each person. The same general elements enter into the composition of all voices, from the basso profundo to the high soprano.
That the reader may better understand the proportion and relations of the different parts of the vocal apparatus, a sectional drawing of the head is here produced, showing the natural position of the vocal organs at rest. As the drawing represents but a vertical section of the head the reader should note that the sinuses, like the eyes and nostrils, lie in pairs to the right and left of the centre of the face. The location of the maxillary sinuses within the maxillary or cheek bones cannot be shown in this drawing.
The dark shading represents the cavities of the throat, nose, and head. The relations of the parts are shown more accurately than is possible in any diagram. It will be noticed that the vibrations from the larynx would pass directly behind the soft palate into the nasal chamber, and very directly into the mouth. The nasal roof is formed by two bones situated between the eyes; the sphenoid or wedge-bone, which is connected with all other bones of the head, and the ethmoid or sieve-like bone. The structure of these two bones, especially of the ethmoid, consists of very thin plates or laminæ, forming a mass of air cavities which communicate by small openings with the nasal cavity below. Thus, the vibrations in the nose are transmitted to the air spaces above, and the effective qualities of the head vibrations are added to the tone.
THE LARYNXThe larynx or voice-box contains the vocal cords. Just above the vocal cords on each side is a large, deep cavity, called the ventricle. These cavities reinforce the primary vibrations set up by the cords and serve to increase their intensity as they are projected from the larynx. The larynx is the vibrating organ of the voice. It is situated at the base of the tongue and is so closely connected with it by attachment to the hyoid bone, to which the tongue is also attached, that it is capable of only slight movement independent of that organ; consequently it must move with the tongue in articulation. The interior muscles of the larynx vary the position of its walls, thus regulating the proximity and tension of the vocal cords. The male larynx is the larger and shows the Adam's apple. In both sexes the larynx of the low voice, alto or bass, is larger than that of the high voice, soprano or tenor. The larynx and tongue should not rise with the pitch of the voice, but drop naturally with the lower jaw as the mouth opens in ascending the scale. The proper position of the tongue will insure a proper position for the larynx. The less attention the larynx receives the better.
THE VOCAL CORDSThe vocal cords are neither cords nor bands, but instead are thick portions of membrane extending across the inner surface of the larynx. On account of familiarity the name vocal cords will still be used. They are fairly well represented by the lips of the cornet player when placed on the mouthpiece of the instrument. The pitch of the tone is fixed by the tension of the vocal cords and the width and length of the opening between them. Their tension and proximity are self-adjusted to produce the proper pitch without any conscious volition of the singer. They can have no special training, needing only to be left alone. The work of the vocal cords, though essentially important, is, when naturally performed, light and consequently not exhausting. If the larynx and all of its supporting muscles are relaxed as they are in free and easy breathing, then when the air passes out through the larynx, the vocal cords will automatically assume a tension sufficient to vocalize the breath and give the note the proper pitch. The normal action of the cords will never cause hoarseness or discomfort. The sound should seem to be formed, not in the throat,—thus involving the vocal cords,—but in the resonance chambers.
THE EPIGLOTTISThe epiglottis is the valve which closes over the upper opening of the larynx. It not only closes the mouth of the larynx when food is swallowed, but aids materially in converting into tone the vibrations set up by the vocal cords.
THE PHARYNXThe pharynx extends from the larynx to the nasal cavity. The size of the opening into the nasal chamber is controlled by the soft palate and is frequently entirely closed. The size of the pharynx is varied by the contraction and relaxation of the circular muscles in its tissue; when swallowing its walls are in contact. The pharynx acts as does the expanding tube of brass instruments. It increases the force and depth of the tone waves. The wider the pharynx is opened, without constraint, the fuller the resonance and the better the tone.
THE UNDER JAWThe under jaw furnishes attachment for the muscles of the tongue and hyoid or tongue bone. It also controls, owing to the connections of the larynx with the hyoid bone, the muscles that fix the position of the larynx.
The pterygoid muscles, which move the under jaw forward and backward, do not connect with the larynx, so their action does not compress that organ or in any way impede the action of the vocal apparatus. A relaxed under jaw allows freer action of the vocal cords and ampler resonance. The under jaw should drop little by little as the voice ascends the scale, thus opening the mouth slightly wider with each rise in the pitch of the tone. In ascending the scale it is well to open the throat a little wider as you ascend. The delivery will be much easier, and the tone produced will be much better. At the highest pitch of the voice the mouth should open to its full width. At the same time care must be taken not to draw the corners of the mouth back, as in smiling, because this lessens the resonance of the tone and gives it a flat sound.
The under jaw must have considerable latitude of motion in pronunciation, but by all means avoid chewing of the words and cutting off words by closing the jaw instead of finishing them by the use of the proper articulating organs, which are the tongue and lips.
THE SOFT PALATEWriters on the voice have almost universally claimed that the principal office of the soft palate is to shut off the nasal and head cavities from the throat, and to force the column of vibrations out through the mouth, thus allowing none, or at most a very small part, to pass into the nasal passages.
This contention implies that the vibrations are imparted to the upper cavities, if at all, through the walls of the palate itself, and not through an opening behind the palate. This is entirely at variance with the facts as verified by my own experience and observation and the observation of others who are expert specialists. The true office of the soft palate is to modify the opening into the nose and thus attune the resonant cavities to the pitch and timbre of the note given by the vocal cords and pharynx. To develop the vowel sounds, the soft palate should be drawn forward, allowing a free passage into the nose; it should be closed only to form the consonants which require a forcible expulsion of breath from the mouth.
The uvula, the pendulous tip of the soft palate, serves as a valve to more accurately adjust the opening behind the soft palate to the pitch of the voice. In producing a low tone the soft palate is relaxed and hangs low down and far forward. As the voice ascends the scale the tension of the soft palate is increased and it is elevated and the uvula shortened, thus decreasing the opening behind the palate, but never closing it. In fact the larger the opening that can be maintained, the broader and better the tone. The author was himself unable fully to appreciate this until he had become able to sense the position of the soft palate during vocalization.
THE HARD PALATE AND TEETHThe hard palate and upper teeth form in part the walls of the mouth. As they are solid fixtures, nothing can be done in the way of training. They furnish a point of impingement in articulation, and play their part in sympathetic resonance.
The bones which form the roof of the mouth serve also for the floor of the nasal cavity.
The under teeth also serve as walls of resistance to support the tongue during the performance of its functions.
THE NASAL AND HEAD CAVITIESThe nasal and head cavities are resonating chambers incapable of special training, but their form, size, and the use made of them have
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