EXERCISES FOR FORMING TRANSIENT RESONANT CHAMBERS FOR BEAUTIFUL WORD ELEMENTS.

Exercise II.—Sing the sound represented by m-nom on the different intervals of the scale, commencing on a comparatively high pitch, descending and ascending a number of times. Begin the tone with the pure nares resonance as described in the previous exercise. Allow the sound which is represented by m-n to blend with the resonance which constitutes the vowel o, closing the lips before the tone ceases. In this exercise we blend the vowel o with the resonance in the front of the nares, thus directing the mind, which guides the vocal action, as far as possible from the throat, where it would cause constriction.

Exercise III.—To gain greater facility for uniting the free resonant elements of speech in a forward and downward curve, other words may be practised, viz., Most-men-want-poise-and-more-royal-margin.

Each word should first be sung separately on each note of the scale, repeating the word several times on each interval. With each repetition the mind should be concentrated upon the ideal form of the word, thus making the resonant mold more and more perfect.

A few words of explanation in regard to the vocal elements used will make the exercise more clearly understood.

M-O-S-T. The resonance in forming the s being near the teeth, and that forming t being a puff of breath at the point of the tongue, aid in fixing the attention of the mind upon the imagined curve.

M-E-N. The added resonant element in this word is e, which, by being joined to m on the one side and n on the other, will assist in directing the mind to the curve while giving the vowel e.

W-A-N-T. Here we have the aid of the letters n and t together with the position of the lips for w in assisting to join the vowel a, as heard in awe, to the expanding globe moving in the forward and downward curve.

P-O-I-S-E. In this word we are again aided in locating the resonance by the necessity of forming the sounds of p and z at the very front of the mouth.

A-N-D. Here the student has his chief assistance in the resonant element, represented by the letter n, and somewhat by the letter d, for bringing the attention of the mind to the globe in its relation to the curve while forming the resonant element represented by the letter a.

M-O-R-E. Here again the student has the assistance of the frontal nares element, represented by the letter m with the vowel o, which by this time he has joined with it. The new resonant element in this word is r. In forming this element there seems to be a prevailing tendency to constrict the throat, but now, by joining it with elements which have been associated in the mind with the expanding globe, this stricture is removed.

R-O-Y-A-L. The next word to be joined to this chain is r-o-y-a-l. Here we are depending upon previous practice in giving it the luminous curve tendency.

M-A-R-G-I-N. The new elements in this word are the sound of a as heard in far (ä), and the vocal element represented by g. The letter g represents an element, in forming which many people constrict the throat, giving what is called a “throaty” tone. Our object in using a, as heard in far, in this connection, is to introduce the largest and freest transient chamber of resonance which the organs of the mouth are capable of forming. The Italian ä has been much used in vocal practice, and it is a good element, providing it is not introduced too early in a student’s course of study, and if in its introduction it is always joined to the frontal nares mold as in ma. After practising upon the elements of speech described above, the student may practise them in the sentence form. Most men want poise and more royal margin. Repeat this exercise upon various intervals of the scale, beginning upon a comparatively high pitch, and descending to a comparatively low one.

By the practice of these exercises the student develops the ability to make each word and element of speech perfect without breaking the steady, sustained current of the tone.

Exercise IV. Sing ma-za-ska-a, commencing upon a comparatively high pitch, descending and ascending the scale.

After having made the true forms of the above-mentioned elements of speech habitual, the student may concentrate his practice upon the resonant form of a, as heard in far. Thus, this vocal element, being joined with the consonants m and z, is aided in making its most perfect resonant mold, while s, being forward to give the right direction, and k, being strongly projected by the pharynx resonant chamber, the ä is sent forward, like a ball from a gun, thereby developing projection of tone until at last the student may venture to practise upon ä alone.

While expressing these separate elements, each must be held in the mind as a luminous globe moving in the forward and downward curve. Repeat this exercise on different intervals of the scale. It may also be given in the form of arpeggios.

In practising these exercises, the student must be careful never to strain the voice either for the purpose of reaching a high or a low note. He should attempt to reach no pitch until it is perfectly easy for him to do so. He should practise most upon those notes which are easily within the compass of his voice, not continuing to repeat an element on the same interval of the scale, but changing at least one note with each successive repetition, that the voice may develop an evenness and the habit of reaching the resonant chamber which gives the right quality for the pitch.