Evening star. [volume] (Washington, D.C.) 1854-1972, 1914-03-22


up the others, which are more difficult to
master, working at them at intervals for a
half hour daily; more, if possible
When you have placed these novels IN
all the different combinations with con-
sonants, when you have the breath under
such control that minimum amount Of air
will produce your completest tone,-in other
words, tone with "free" vibrations, -you
have mastered the mechanics of the vocal
art.
This is the prescription that only few
of the best vocal teachers in the world can
impart, and to acquire which frequently as
high as twenty dollars for twenty minutes
must be paid, with perhaps the addition of
an expensive trip and a protracted residence
abroad This is the "trick" that makes the
softest tone or spoken word wing its way to
the topmost gallery; while perfect below,
from giant who did not have the "bing,"
might not be heard fifty feet from the foot
lights.
In any profession requiring a man or a
woman to use his or her voice, the results of
this training would be invaluable. If, for
instance, the harmless, necessary brakeman,
instead of inhaling his words, was to assume
the partial smile, separating the jaws, he
would say @Mount Vernon, instead of "M-n
V-n,' and the subway guard, when we ar
rived at Grand Central Station or Wall
Street, would make this fact clearly appar-
ent to even the dullest ears.
Try for yourself, and see. Say "Grand
Central Station" or wall Street in your
natural way. Then assume the grimace,
and, using the same amount of energy and
breath, repeat the words, and note the diff
ference in the quality and power of the tone
and the clearness of enunciation.
Of course the smiling position is modified
by training, so that the same vocal results
accrue without being facially noticeable. In
fact, snarl actuates the same facial muscles
as a smile. When you say with intensity,
II hate you!" the muscles elevate the upper
lip, and expose the canine teeth just as they
do when you smile. The chief difference
lies in the eyes, and in the general expression
of the face However, the smile wins you
more friends.
If singers and students surmount the
the English consonants, applying this
method to voice production, there is abso-
lutely no reason why opera could not be
successfully sung in the vernacular. A, E,
|, O, and are universal sounds. The only
difficulty lies in combining them with the
various consonants. AS to the translatable-
ness of the operas, as to whether or not the
atmosphere" is retained, that is another
matter-and beyond the scope of the pres
ent article.
Almost everyone recoils from a harsh,
rasping voice. 1t CRATES upon the nerves.
Unconsciously we are repealed by it, as it is
the note of tragedy, of hate. If man or
woman with harsh, rasping voice succeeds
socially or in business, it must be because of
unique attractions, great wealth, or signal
worth; for an exaSperatlng, dlSagreeable
voice can drive away friends and business
much faster than any amount of talent can
win them back. A pleasant, well modulated
voice is an invaluable business and social
asset. If it does not exist naturally, it can
be cultivated by proper breathing and these
one-placing exercises.
IT is a curious fact that one sings better
with a slight cold in the head than when
in a normal condition. This is because the
tissues are relaxed, giving a slightly larger
area to the resonance chambers (oral and
nasal cavities), and also because dryness is