The Lambertville record. [volume] (Lambertville, N.J.) 1872-1968, 1875-08-04
MISCELLANY.
TOT HE ltEVUkI
YoICE Training.
By Q. r. HOFFMAN,


III.
We have thus far traced the voice in ii,
mechanism up to the point where the tone Ii
made, where the vocal vibrations begin with
the vibrating chords, and now uome to the
most interesting as well rs the most difficult
part of voice training, --thc proper dsselop.
msnt of the tones made in the larynx.
The tones, as they issue from the vocal
chords, arc hard and charaoterless discord-
ant and harsh in consequence of the great
mass Of partial tones inherent in the vibra-
tions Of the flexible chordac uocales. These
tones are to receive character, roundness, mel
lowncss and correct proportion of the par
tial tones, while the vibrating air is passing
through the pharynx into the mouth, and just
how to do this properly is the most difficult
phase of voice training, in which most griev-
Gus mistakes are often made, usually resulting
in the false resonance, which after long prac-
tice becomes permanent, leaving the voice
strained and hard beyond cure.
The proper development Of tone is ow-
ing to very important principle, namely, re-
sonance lin the German Mt-schpingung I"
meaning literally co-ci5ration), by which is
meant, the setting up of vibrations mi sound
ing body, indirectly, as the result of the vi
bration of another sounding body. This, if
We take two tuning forks, Of eraotly the
same pitch, and cause one of them to vibrate,
by holding the prongs Of the other fork close
to the sounding fork without touching it), for
a few seconds, both forks will yibrate and the
tone of the first fork, will be strengthened by
the vibrations of the other. Again, push
down gently a key Of piano, SO that it does
not sound, then sing the tone belonging to
that key, when the piano will at once respond
to the voice, and prolong the tone after the
voice ceases. This is co-vibration. The reason
for these effects is that the vibrating body, as
in these examples (the voice and the tuning
forks, sets up vibrations or motions in the
air which are impressed upon the second
sounding body when this body vibrates exact
| IN IN unison with the first. And this Is the
condition of resonance one Instrument will
mot cali out vibrations III another instrument,
unless they have exactly the same pitch of
tone. Thus the vibration of fork will not
affect fork OF lower or higher pitch, no mat
ter how little the difference of pitch may be.
Now all tones, instrumental as well as vo-
CAL owe their character to resonance. The
violin receives its fine, sympathetic quality,
] from the resembling fiber Of the wood Of
which It is constructed and 1t is well known
that only peculiar wood MATERIAL as well as
peculiar shape of construction, make good
violin tone. Without sounding board, the
piano would give mere jingle of tones al
most intolerablc. An organ tone Is one which
requires certain length and size Of pipe,
solely for resonance. So the cornet, flute and
other wind instruments require certain def
mite length of resonance tube, for the produc-
ton of their several qualities of tone. As
further illustration of this important principle,
take a Jewsharp, put the tongue in vibration
and hold 1t to the ear again |; make it vibrate
while held at the teeth SO that it resounds
in the cavity Of the mouth. Mark the differ
ence, all of which is owing to resonance
Again tuning fork which cannot be heard
unless il be brought to the ear, rcsounds dis
tinctly when held at the open end of tube
six inches long.
!
tone, this tone will at once resound In the re-
sonant cavity of the mouth distinctly and
strong. But every tone made by the vocal
chords is a composite tone, as was before
stated in Article LIST, and has great mass OF
partial tones, each Of which, finds its appro-
pirate resonance In various parts of the vocal
tube.
hnrr~ kt,n oh octo - lx<xxxk <xxs.
depends upon the number, order, and relatice
strength Of the partial tones.
The violin has large number, certain Or
gan tones and small number of oyer-tones.
The clarionet has certain order of partial
tones, taking every other one, or by numbers
4 LIB, 2, etc.
In the pipe organ, tones from reed pipes
differ from those Of fiue pipes, in the inten.
sity Of certain overtones. DIR, Helmholtz, q
distinguished scientist of Germany, devised O
system of Resonators, by means of which he
determined the partialtones contained in the
tones Of different instruments, including the
voice. He also by means of tuning forks
. placed upon resonance boxes, initiated success
fully (by observing the number, order and re-
lative strength of the partial tones), the tones
Of different musical Instruments.
Now, as We have already seen, the full
number Of partial tones win appear in the
resonance Of the voice. 1t remains to b
noted, that the fiexibility Of the vocal tube
makes 1t possible to so dispose its various
parts, as to strengthen certain partial tones
and to weaken certain others, SO as to make
J rich and agreeable resonance, and this is pre-
cisely what must be attained in voice train
, ing.
|; 1t is this agreeable combining of partia
tones by welLtrained, flexible throat, whicl
makes the human voice so rich and beautiful
, In its effects, transcending in this regard an,
! other instrument. ~
: This agreeable combination, can, however
t be ,ached by no amount Of calculation in til
!, adjusting Of different parts Of the vocal apra
3 ratus to the overtoncs, but only by observing
; while practising appropriate exercises, stud