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To secure purity of voice, no particle of breath must be allowed to escape unvocalized. A persistent effort should be made to produce this quality, at first “feeding" the breath very gently to the vocal cords and increasing the volume only after long practise. “He is the best speaker,' says Lennox Browne, "who can control the expiration, that the least possible amount of air sufficient to cause vibration is poured with continuous effect upon the vocal organs."
1. Sing do in gentle, smooth voice, avoiding unnecessary muscular effort.
2. Sing ah, with mouth well opened, aiming at purity, depth and smoothness. Sustain and repeat on various pitches.
3. Repeat with o.
4. Gradually change singing a to ah, maintaining a uniform quality throughout
5. Repeat with 00-c-ah.
7. Pronounce ē, a, au, äh, o. o. prolonging each ten or more seconds
8. Repeat with risicg, falling, and circumder indection.
9. Practise shock of the glottis in gup.ge, go, gau, gah, go, Co.
10. Repeat in hup, he, ha, haw, hah, ho, hoo.
11. Repeat with rising slide and with falling slide, aiming at great clearness.
12. Count very deliberately one to fifty, inhaling after each number.
13. Count to fifty, ten to each breath. 14. Repeat last two exercises in loud whisper. 15. Project by slight waves of sound woo-woo-woo-woo. 16. Toss the sounds e, a, aw, ah, oh, 00.
17. With mouth closed hum a mental maw. The vibration should be felt on the lips and in the facial resonators.
18. Repeat with bright and with sad vibrations. 19. Repeat in very low pitch.
20. Commence a humming tone as before, allow the lower jaw to drop gently, "focus" the voice on the lips and maintain as much facial resonance as possible.
21. Sing le, la, law, lah, lo, loo, singly and in combination.
22. Yawn e, a, aw, ah, 0, 00.
FLEXIBILITY AND COMPASS
Flexibility means vocal responsiveness, or the ability to produce any tone or variation that may be required.
1. Sing e, a, aw, ah, 0, oo in chromatic scale, from the lowest to the highest pitch. The use of a piano in these exercises is desirable.
2. Repeat with trill.
4. Repeat in speaking voice, with short, medium, long and very long rising inflection. Repeat in falling and circumflex inflection.
5. Repeat with gradually increasing force, and with gradually diminishing force.
6. Repeat with swell, one pitch at a time, then combined with change of inflection both rising and falling.
7. Commence the following upon a low pitch, reading each successive line in the next highest pitch:
O thou that roll'st above,
8. Commence the following at lowest pitch, giving to each word a short rising slide on successively higher pitches; aim at smoothness, and gradually increase length of inflections:
9. Repeat the following with falling slides :
An old clock
years in a farmer's kitchen without giving its
any cause of complaint
To secure brilliancy or a musical quality of voice, practise daily upon exercises containing long vowel sounds.
1. Hear the mellow wedding bells
Through the balmy air of night
And all in tūne!
Oh, from out the sounding cells,
How it swells!
How it dwells
Of the rapture that impels
Bells, bells, bells,
2. Inhale deeply, force the breath against the closed lips until they burst open on the word “bell," prolonging the “l" as long as possible and allowing the tone to gradually die away in imitation of bell vibrations. Repeat with variations.
3. Laughing exercises will add brilliancy and strength to the voice.
Practise m-m-m-m-m-m-hoo-hoo-hoo-hoo-hoo-hoo-ho-ho-hoho-ho-ho-ha-ha-ha-ha-ha-ha. Aim to produce a hearty, spontaneous laugh. Practise with varied feeling, such as merry, rippling, polite, silly, angry, appreciative, sad, scornful, etc.