Vocal Technic 00 Fox A [PDF]

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Vocal Technic BY

ANCELLA (MRS. O.

L.

M.

FOX

FOX)

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GAMBLE HINGED MUSIC PUBLISHERS CHICAGO

*

CO.

HAROLD B. LEE LIBRARY BRiGHAM YOUNG DIVERSITY Pi3OV0, UTAH

Digitized by the Internet Archive in

2012 with funding from

Brigham Young University

http://archive.org/details/vocaltechnicOOfoxa

US'

V

U3y

—

m.

m ^

(MRS.O.L.FOX)

Published by

Gamble Hinged Music Co. Chicago

To my

Pupils,

whose loyalty has been an inspiration

HAROLD B. LEE LIBRARY 8RIQHAM YOUNG UNIVERSITY PROVO, UTAH

3

PREFACE

3

do so at the earnest solicitation of my pupils who have become teachers. They are gTaded and progressive 3 and being* the result of my long* experience as a vocal teacher in the Chicag*o Musical College,! offer them with confidence. In publishing* these exercises

I

EXPLANATIONS AND SUGGESTIONS An"o" placed over a

note

is

of velocity to be of value in acquiring* flex-

a sign for opening*

the tone.

M

is

the

ibility.

sig-n for

humming*.

It

gives location

and places it near the enunciating* org*ans (lips and tongue). All voices must be focused for timbre. Care should be taken however, not to lose the mellow quality so desirable. to the tone

The

first principle of g*ood singing* is throat re-

To

mind must be directed to the point of delivery— the lips. Much throat contraction is caused by the false idea that singing* is a throat action, while it is really a mouth action, like speaking*. Too much breath ruins the voice. There is usually enougti in reserve, and it only needs laxation.

g*ain this the

to be

used judiciously. The simple gripping* of the diaphram gives excellent support to the upper voice arid little

needed in the "medium" proper control of the diaphram prevents forcing*, and is the whole secret of g*ood breathingis

A

in singing*.

Head tones become small and thin if placed too hig*h. Consider them as an opening*-out of the a medium" and as coming* forward and over .

have a curve from the preceding* tone passing* up or down the scale.

All tones

in

In singing* the octaves,the pupil should haveathought

of distance.

reaches

its

The upper note is to travel, and if it proper destination must do so men-

tally^ well as vocally. All action of a muscular nature must stop at the chest— not extend to the throat. Ease in singing* can only be acquired by physical ease.

The art of Scale practice

singing" is the ease of is

it.

the backbone of vocalization.

Always

with accent,and in perfect tempo. Divide all long* scale-passag*es into groups; do not sing* as a whole, otherwise the top and bottom g-et

alHhe

attention,to the negiect of the center.

I

and sung* in perfect tempoythe ~the scale becomes even. would sug*g*est that the scale be played with the pupil until some smoothness and rhythmic sense has been acquired. This is also my rule with the Trill.

Pianissimo tones are not suppressed tones, but singing*

without power. The voice must be well under control

before extreme soft singing* should be attempted. Ag*e Extend the rflngr ftjwhile_the voice is young*.

and matures quality, and the voice is not easily extended after having* matured. Breadth of tone is never g*ained by force. Pushing* fills

the voice ruins

poise.

Scales should never be practised with full voice. A g*ood "medium"is better and at times a sotto

voce have g*iven metronome marks, which are never slow. My experience has taug*ht me that scales must be practised with some degree

it.

a head tone without a rigid diaphragm. The position of the mouth is very important.All stiffness should be avoided. Take the position with the tone, and not before. From C to G above, for soprano and tenor {A to E for alto and baritone) let the mouth be roundednot over- wide in the "medium" dropping* the jaw for enlarging* the tone. Passing* above G, the mouth gradually spreads at the corners, and in the extreme rang*e becomes very wide. All vowels should be used in practice, but ae*and^o,, have most value in voice placing*— a o" for thin quality, and"e"for that which is sombre and a throaty. For contralto and male voices e" is especially g*ood. This vowel will be sung* with more ease if the jaw is relaxed or dropped. Stand still Repose adds to personal attraction and should be cultivated.

Never

sing*

.

It

;

When grouped

•

blends the registers,gives flexibility and perfect

I

sing* legato

••••••

These are a few g*eneral, practical rules which, with the exercises, I trust will be of value to those seeking* the best results in voice pro duction.

Blank pag*es have been added for special exercises to be given by the teacher for the particular needs of each pupil.

ANCELLA 200-83*-

G.H.M.Co.

M. FOX.

For alto

M

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stands for humming, with closed lips

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