BOUGHT WITH THE INCOME FROM THE SAGE ENDOWMENT FUND THE GIFT OF Henru W. Sage 1891 ^.■^^/. t ?.. for complex exercises. The student, prepared to concentrate his mind upon the work and realizing that it is a question of mind control, should be impressed with the fact that success depends upon his clear understanding of the details of inspira- tion, retention and giving out of breath. The establishment of control is comparatively easy when the principles governing it are understood. If trouble arises, it will be from the failure of the student to understand and apply the instruction. And now, what are the principles on which proper breath control rests? At the root of all is the fact that the act of breathing should never entail physical strain, should never involve the throat and vocal organs in tension, that it should be so performed that the body, the throat, the vocal bands, the tongue and jaw are entirely unconscious of it. The student should understand that any tension or rigidity of the walls of the body, any stiffness of the abdomen, any contraction of the throat in an effort to retain breath, is wrong and will defeat his purpose. This must be emphasized until it is thoroughly impressed as vital. The student must be taught to recognize FOUNDATION OF TONE PRODUCTION 15 and locate improper tension and to realize the difference be- tween rigidity and freedom. He is then ready to perceive the value of a mode of breathing which leaves the walls of the body free and responds promptly and certainly to the dictates of the will. He will then realize that the act of breathing is from within, the result of the movements of the diaphragm. It is evident that he must be taught what the diaphragm is, how it acts, how it is controlled, exercises being given to this end. The power to use the diaphragm to take in and retain breath and to control its outflow, leaving the walls of the body free from undue muscular effort, and the relation of such breath control to the act of tone production can readily be made clear. The act of singing involves certain physical processes which seem complicated, but which, when thoroughly mastered, become simple and automatic. These processes are accompanied by sensations which can be recognized and their relation to the different phases of tone production made perfectly clear. This physical aspect of singing is its only tangible demonstration, and affords the best approach by which the "interior light of the mind" can be reached. The following lessons endeavor to use this approach in as simple and definite a way as possible. PART II LESSONS IN THE FUNDAMENTALS OF VOICE PRODUCTION LESSON ONE PREPARATORY EXERCISES FOR INHALATION AND RETENTION OF BREATH THESE lessons are based on two principles, which the student should clearly understand and fix in mind. I. When tone is properly produced, there is an absence of sensation, which is the result of a freedom from strain, rigidity, or tenseness. II. This condition invariably accompanies proper breath control. Anything which induces rigidity, however slight, during the act of singing, produces wrong condition, and is fatal not only to good tone, but also to the development of the voice. There are many earnest students who are having trouble with their' voices because they fail to perceive the contraction of the throat and the rigidity at the base of the tongue and the pressure on the larynx, which accompany their efforts to sing. These are conditions which arise from failure to manage the breath properly. They must first be perceived and then en- tirely avoided. To discover them, sing Ah' (a as in father), sustaining it several seconds. Concentrate the thought upon the throat. Notice the rigidity of its walls, the strain on the larynx. Sing again and note the stiffness at the back of the tongue ; then turn the attention to the abdomen, and see how tense are its walls, and particularly note the tendency to draw in the abdomen. These are conditions which must be en- tirely overcome, and as they arise from mismanagement of the 20 THE FUNDAMENTALS OF VOICE PRODUCTION breath, our first lessons will deal with breath control, this first lesson being devoted to the preparation of the body and the act of inhalation. The student must bear in mind that freedom at the vocal bands (larynx) is dependent on the manner of taking and con- trolling breath, hence that form of breath-taking which raises the upper chest and shoulders must be entirely avoided, be- cause it inevitably induces strain at the throat. The shoulders must be absolutely quiet. Hence, of the various methods of inspiration which have been advocated from time to time, dia- phragmatic breathing, with ability to use the muscles which come into play in rib-breathing, is best adapted to singing purposes. The diaphragm is the large muscle which acts as a floor to the chest, separating it from the abdominal cavity. It is fastened to the breast-bone just above the soft spot, or pit of the stomach, and to the ribs and backbone. (See figure 1.) In diaphragmatic breathing, when the lungs are empty, the diaphragm is shaped nearly as the black line (E) indicates. When it is desired to take in breath, the diaphragm, in re- sponse to the impulse of the will, contracts and gradually as- sumes the shape indicated by the dotted line F. It is with this action of the diaphragm that Lessox One is concerned. Our purpose is to secure so perfect a control over this muscle that we can cause it to do its work without disturbance of the upper chest and throat. When the lungs are empty it is arched up- ward ; when breath is taken into the lungs it contracts, and in doing so descends upon the contents of the abdominal cavity, EXERCISES FOR INHALATION, &c. 21 FIGURE 1 THE DIAPHRAGM Description: A. The Lungs. B. The Boot of the Neck. C. The Bibs. D. The Breast-bone. E. Upper surface of Diaphragm. pushing its walls outward. This manner of inspiration is called diaphragmatic breathing, and leaves the throat entirely free from strain. It should be the principal reliance of the singer. The use of diaphragmatic breathing is made more controllable by a knowledge of costal or rib breathing. The ribs are joined to the backbone, shoulder-blades, and to each other, by muscles which raise and pull them outward. By the use of these muscles in rib-breathing, the sides, espe- cially toward the back, are expanded, and when diaphragmatic breathing is accompanied by this expansion of the sides well up toward the armpits, and the back to under the shoulder- 22 THE FUNDAMENTALS OF VOICE PRODUCTION blades, and a distention of the soft spot under the breast- bone, the singer can inhale and control breath without involv- ing the throat, leaving the larynx free to do its work. FIGURE 2 RIBS AND RIB-MUSCLES Description: A. Ribs. B. Attachment of ribs to backbone. C. Rib-muscles connecting them externally. D. Muscles attaching upper ribs to points of shoulders {E). F. Muscles joining ribs internally. The best form of breathing for singing is a combined use of diaphragm and ribs. The strong muscles attaching the upper ribs to the points of the shoulders must be well controlled, else with every full breath the upper chest and shoulders will be lifted, a condition destructive to freedom of throat. All feeling of stiffness in the sides should be avoided, the expan- sion, caused by the movement of the ribs, and the subsequent contraction as the diaphragm is raised, being entirely free from strain, while firm and steady. A danger which may arise in rib-breathing, and which must EXERCISES FOR INHALATION, &c. 23 be avoided, is a tendency to raise the upper chest and the shoulders. This, as has already been said, is fatal to an easy throat. It is this tendency which makes it advisable to use the diaphragm chiefly in developing breath control. But a know- ledge of the action of the muscles of the ribs and back is valuable in establishing the complete control of breath which must be had in singing. Not only must the throat be free from strain, the walls of the body also must be relieved of rigidity. The act of breathing is best done when the body is at ease, the muscles being in complete subjection to the will and used automatically. Before this subjection to the will can be con- summated and the automatic action established, the muscles must be located and their functions understood, and practice had in their use. The exercises of this lesson are directed to this end. Exercises Exercise One. Stand with one foot in advance of the other, balance the weight of the body on the forward foot, poising it firmly but lightly, with a feeling of flexible control over the entire body. The muscles should be free from all tenseness, but ready for instant use, the shoulders settled firmly. Take this position a half-dozen or more times, keeping it long enough to establish the feeling of ready repose; persevere until the body can instantly be placed in this completely controlled position. Exercise Two. Take position, and balancing firmly on the forward foot, bend over, extending the arms forward and out- 24 THE FUNDAMENTALS OF VOICE PRODUCTION ward, with the elbows in and the palms of the hands upward. Take breath, and notice the action of the muscles of the back under the shoulder-blades. Repeat the exercise until the ex- istence of these muscles is clearly perceived and their action as breath is taken in easily recognized. Exercise Three. Take position, place hands on each side just above the waist, and inhale slowly for several seconds. Do not take too deep a breath. Note the expansion of the sides. Let the breath escape, and repeat the inhalation. Do so until the movement of the sides is free. Exercise Four. Take position, place hands at the small of the back, and inhale as in previous exercise. Note expansion of the back. Repeat this exercise until the back expands freely with each inhalation. Do not lift the shoulders, but leave them free and quiet. As freedom is gained, the back will expand well up to the shoulder-blades. These exercises locate the muscles of the ribs and back used in breathing. Watchful practice of them will give strength and control. The mind should be concentrated on each, but all practice should be done easily and without undue effort. The mind should control, the thought should be confident, and each exercise done without hurry. After a well-poised position is secured by the use of Exercise One, it may be varied by various movements of the body above the waist, taking care not to disturb the firm poise on the feet. The idea is to give freedom to that part of the body which is involved in breathing. The next exercise deals with the diaphragm. EXERCISES FOR INHALATION, &c. 25 Exercise Five. Standing with the upper part of the body free, take rapid, short breaths, as one does in panting. Place the finger on the soft spot, and notice its pulsations. Let the move- ment also be at the waist, freeing the walls of the body, keep- ing the upper chest quiet. Have the shaking extend upward to the armpits, and around the back well up to the shoulder- blades. Let the thought go to the diaphragm, around its edges, noting how it rapidly shakes up and down. This is a valuable exercise for establishing a conscious con- trol of the diaphragm, and for loosening the walls of the body. With the preceding exercises, it will prepare the body for re- tention and exhalation of breath. Exercise Six. Stand as in previous exercises, place the fingers on the soft spot, and take three quick breaths, pausing at least three seconds between each breath. Notice the quick, out- ward jump of the soft spot. Let breath escape, and repeat. Do the same, placing the hands on sides and back. Notice the out- ward movement in each case. These exercises should be studied until their purpose is thoroughly understood, and practised until the body is free from stiffness and under control of the will. Students are apt to hold the body stiffly. The muscles of inhalation cannot do their work well until all stiffness is banished. Hence the first requisite is power to stand with the body pliable, the waist l'elaxed. The exercises which deal with inhalation are very im- portant, for the muscles which are active in exhalation are more powerful and active, and a control of breath which will 26 THE FUNDAMENTALS OF VOICE PRODUCTION leave the throat free comes only when the muscles of inhala- tion are so strengthened that they will balance the activity and strength of the muscles of exhalation. The exercises should be practised in the order given until the student has no doubt about their action. Then Exercises Three, Four, Five, and Six should receive most attention. As strength and freedom are gained, give increased attention to Exercise Five, aiming to produce a rapid fluttering of the soft spot and sides and back. The amount of practice at first should be about thirty minutes, in three portions of ten minutes each. When the student begins to feel certain that he quickly and surely recognizes right conditions, he may increase his practice to forty-five minutes a day. LESSON TWO INHALATION AND RETENTION OF BREATH LESSON One had for its object the preparation of the body -/ for breath control, the awakening of the student's con- sciousness to the existence of certain muscles, and to certain physical aspects of their action in what is called diaphragma- tic breathing. The student must first know and then apply his knowledge. The crux of the whole matter lies in the practical application of what knowledge the student may possess. An imperfect or incomplete theoretical knowledge of the technics of singing properly applied to the various phases of the act of breathing and breath-controllingwill be far more effective than amazing erudition minus the power to apply it when and where needed. Certain things must be accurately and comprehen- sively known, but the would-be singer must be able to bring this knowledge to bear where it will do good. In the case of the beginner in voice culture, the things that he should know certainly, and with considerable comprehensiveness, are the conditions which obtain during the breath action necessary to the production of tone. This must be based on a knowledge of the muscles which are involved, the manner of their action, and their relation to the conditions he is familiarizing him- self with. Consequently, before proceeding with the work of this les- son, the student should be positive that he understands the previous one, can locate and recognize the action of the mus- cles described, and do the exercises without rigidity of body. 28 THE FUNDAMENTALS OF VOICE PRODUCTION The lesson should have a focal point, a definiteness of purpose which is clear to his mind. A slight misconception of any part is enough to cause trouble. The difficulty in pursuing a course of study such as this, arises from the liability of the student to think he understands fully, when perhaps he has misappre- hended some explanation, misunderstood some exercise, or misinterpreted some sensation. This must be guarded against by careful and discriminating study and a thoughtful and watchful application of the exercises. With the purpose of Lesson One clearly fixed, and its exercises practised until rea- sonable readiness of perception is acquired, we may take the next step. Begin by doing Exercise Two; notice how the back ex- pands when breath is inhaled. The upper chest is still, the shoulders do not rise, and the movement of the back from the waist to the shoulder-blades is freely outward. The mind is concentrated, taking in every detail of the action, registering the sensations; but is free from anxiety, is quietly confident, and the face is smiling and pleasant. After this review of Ex- ercise Two, take Exercise Seven. Drop the arms, still leaning forward with the weight on the ball of the forward foot, and inhale slowly. Do you now feel the expansion of the back as freely as before? Can you take in the details of the inhalation as readily as before? If not, practise the exercise until you are as cognizant of the action of the muscles of the back as when the forward posi- tion of the arms assisted you. The position continues to be INHALATION, &c. 29 easy, the mind maintains control but is comfortable, the arms hang loosely, the face is pleasant. Do not inhale too deeply, and never lift the shoulders or upper chest. Exercise Eight. Now apply this instruction to Exercises Three and Four. Conditions must be the same. The mind now takes note not only of the expansion of the back, but also of the sides. The student should be able to draw in breath with a conscious, but perfectly free and comfortable expansion of the body at the sides and back from the waist upward to the armpits and the shoulder-blades. He should be able to recog- nize this action of the back and rib-muscles readily, without inducing any tendency to rigidity of body or tense effort of mind. It should be a pleasant physical exercise. Exercise Nine. We are now ready to devote a little more at- tention to the action of the diaphragm as shown in Exercise Five. Take quick, short, panting breaths until the soft spot under the breast-bone, and the sides and the back to the shoul- der-blades, quiver in unison with them. The shoulders are quiet, the upper chest still, the face pleasant, and the eyes smiling. There is no tenseness anywhere. The throat is open and comfortable. After a month's practice on the exercises of Lesson One, and the application of this union and amplification of them, the student should be able to inhale freely, using the muscles of the back and ribs and the diaphragm quite fully, with body, chest, and throat free from strain and undue effort. The mind should be in the attitude it naturally assumes toward any- 30 THE FUNDAMENTALS OF VOICE PRODUCTION thing in which it takes pleasure. Power to inhale properly, with the mind in easy control of the muscular action, being acquired, we are ready to give attention to the retaining of breath. Here we meet a tendency which must be overcome at once. The free- dom of throat acquired during the practice in inhalation is in danger. Unless we are careful, we will try to retain breath by putting a lid on our breath box ; in other words, we will close the throat. To do this will spoil all prospects of good tone pro- duction. The throat must be left as free as it is during inhala- tion. Indeed, a chief reason for our care in establishing control of the muscles governing inhalation was to gain and establish this freedom of throat. Now, if we permit our efforts to retain breath to result in undoing our previous work, we will be sadly remiss. Retention of breath and the regulation of its supply to the vocal bands must be accomplished through our control of the muscles of inhalation ; it must be the result of the opposing of these muscles to those of exhalation. The practice we have given to these muscles in Lesson One is a direct preparation for this important part of our work. All this must be done unconsciously to the throat. It will require careful and persis- tent practice. The muscles of exhalation are more used, as a rule, and consequently are stronger. Exercise Ten. Stand in position, take breath slowly, but not too deeply, noting the expansion of back, as in Exercise Seven. Retain breath an instant with the throat unconscious, the jaw hanging loose, then exhale slowly, controlling the inwai'd move- INHALATION, &c. 31 ment of the muscles of the back. Make them move at your will, avoiding tension, and keeping the throat free. Do not hurry, be easy and deliberate, keep the mind easy, the face pleasant, the eyes confident and smiling. No matter how much tendency there may be at first for the breath to rush out or for stiffness to creep in, oppose your will to all these faults, and persist until the exercise is mastered. Exercise Eleven. Repeat Exercise Ten, noting the inward movement of the sides and back. Reproduce all the desirable conditions of the preceding exercise. Watch the soft spot and control its inward movement. Exercise Twelve. Pant until the body is free, take breath slowly, open the throat and jaw, and retain the breath for from five to ten seconds. Do not close the throat. Be sure that the eyes are pleasant, the body poised on the forward foot lightly, and free from all tenseness. Simply stop breathing and keep the throat and mouth open. Control the outgo of the breath. Oppose the mind to the tendency of the muscles of the back and ribs to forcibly contract. Devote earnest attention to these exercises until the breath can be retained comfortably with open throat and mouth. When this can be done standing, move quietly about the room, retaining breath in the same way. Make it a habit to control the outgo of breath by means of the diaphragm and the muscles of the ribs and back. Think of the throat as en- tirely divorced from any activity of the breathing muscles. And with it all keep the body free from even the approach of 32 THE FUNDAMENTALS OF VOICE PRODUCTION strain. When the breath can be retained easily for ten sec- onds, increase the time. Exercise Thirteen. Test the control of breath by holding a mirror in front of the mouth while retaining breath. Do not permit its surface to be moistened. In all these exercises keep in mind the fact that they are only means to an end. It is the mind back of them which does the work. They are something on which we depend to give de- finiteness and tangibility to our instruction. They are directed toward the causes of the troubles which afflict us vocally. The results they produce come because they reach the causes and correct those that are wrong. On the other hand, they may fail to touch the cause, to get at the root of the trouble, be- cause they are wrongly applied. It is the mind, the intelligence of the student, perceiving conditions which must be corrected or made permanent, which makes them helpful. Study them, then, to perceive and make your own the ideas they convey. LESSON THREE GREATER TESTS OF BREATH CONTROL IF the student has understood and properly applied the in- struction of the two preceding lessons, he should be able to take breath, properly using the diaphragm, and retain breath with an unconscious throat by means of his control of the diaphragm and the assisting muscles of the back and ribs. He should now be quick to perceive the approach of tension at any part of the body or at the throat. He should find himself becoming able to take a generous quantity of breath and re- tain it for ten to twenty seconds without conscious effort. His will by this time should be establishing quite firmly an adequate subconscious control of the entire act of breathing, which leaves mind and body free. He should have reached the point of instantly placing himself in singing condition. But thus far no effort has been made to produce tone. We have been concerned solely with the task of preparing body and mind to perform and control the physical acts necessary to tone production. Beyond the natural tendency of the mus- cles of inhalation to contract after breath has been taken, and of the exhaling muscles to drive out the air from the lungs, no demands have been made upon breath control. We have had only preliminary training. When breath sufficient to cause the vocal bands to vibrate is to be delivered to them, still greater control will be required, and the real test of the work already done will come. Our present work will serve no pur- pose unless it has been so perfected that it is ready to stand 34 THE FUNDAMENTALS OF VOICE PRODUCTION these severer tests, and meet every emergency. That this is so makes clear the importance of this preliminary work. This lesson will be devoted to preparing the student for these greater tests. Before proceeding to the making of vocal tone, we will give the breath control acquired in the first les- sons further practice by making somewhat greater demands on the muscles which we have trained to regulate the outflow of breath. As a prelude to the exercises which follow, review Exercises Eleven and Twelve. Retain breath as in Exercise Twelve while moving about the room. Be certain that the entire body is free from rigidity, that the mind is easy, the face comfortable, the lips being parted, and the throat entirely unconscious while breath is being retained. After this self- examination, proceed to the work of the present lesson. Exercise Fourteen. Take a weight in the hands — a heavy book will do — and inhale with free extension of waist, back, and sides. Keep the throat open and retain breath while lift- ing the weight above the head and lowering it until the arms are straight down. The effort involved in moving the weight must not produce any tightening at the throat, or any rigi- dity of body. The muscles act just strongly enough to move the weight steadily. The breath is retained because the ten- dency of the exhaling muscles to push out the breath is con- trolled by the will of the student. Do the exercise deliber- ately, with easy concentration of the mind on the control of the body. The tendency one has to tighten the throat when lifting a weight must be overcome. TESTS OF BREATH CONTROL 35 Exercise Fifteen. To further test breath-retaining capa- city, take a book and in a whisper read as far down the page as you can without losing control of the breath. Conditions established in previous exercises must not be disturbed; read slowly in a distinct whisper, with deliberate pauses between every few words. Permit no rigidity to arise anywhere, keep the, face pleasant in expression, the eyes smiling, the throat open. Place a mirror before the mouth and see that its surface is not moistened. With increased control of breath will come power to read longer paragraphs. The movement of tongue and lips in pronouncing words must be free. This action of the organs of speech and the delivery of enough breath to form the whisper increase the tendency of the exhaling muscles to drive out the breath, and power to prevent moistening the surface of the mirror is a step quite in advance. It indicates a control which insures the use of all breath allowed to escape from the lungs, — a control which, if continued as more severe tests come, will prevent many troublesome faults in tone production. Exercise Sixteen. Taking breath as in previous exercises, blow the flame of a lighted candle, so controlling the outflow of breath that the flame does not flicker, but is pressed stead- ily away from the mouth by the breath. This exercise goes a step further in our progress toward a control of breath which will meet the requirements of tone production. More breath is used than in previous exercises and, as more breath is per- mitted to pass out, the more vigorous is the activity of the 36 THE FUNDAMENTALS OF VOICE PRODUCTION exhaling muscles, and a consequent greater demand made upon our control. Hence it is that a steady outflow of breath, keeping the flame steadily bent over, indicates an increased ability to control the action of the exhaling muscles by op- posing to them those which are used in inhalation. When breath is delivered to the vocal bands in sufficient quantity to make tone, this power to oppose the one set of muscles to the other effectively is vital. Exercise Seventeen. Take breath as before, establish control, and aspirate (whisper) Ah, with throat open, jaw hanging loose, tongue lying limp in the mouth. Again use the mirror. Decrease the amount of moisture on the surface until none mists it. Make the Ah audible across the room. Be sure of conditions, and that breath control is the same as in Exercise Sixteen. Do not permit the upper chest to collapse, and keep the soft spot under control. This exercise embodies all the conditions of tone produc- tion, except the pressure of breath on the vocal chords neces- sary to make vocal tone. The same conditions should ob- tain later, when tone is made, as are now existent when this exercise is practised. The aspirated Ah should be heard across the room, and should be made without the escape of a par- ticle of waste breath. Exercise Eighteen. Go through the motions of counting one, two, three, four, Jive, six, adding Ah, without sound. Do this three times in the one breath. Permit no escape of breath, keep the throat open, jaw loose, tongue limp, and face easy. TESTS OF BREATH CONTROL 37 Make movements of jaw and tongue free, breath all the while undisturbed by the activity of the organs of speech. Use the mirror, keeping it free from moisture. There should be no break between the counts and the Ah. This exercise demands plenty of activity above the throat with undisturbed control below. The mastery of these lessons prepares us for the next step in our work, namely, tone production. As has been said in a previous paragraph, we have been doing preparatory work. Future success depends on how well it has been done. It is cer- tain that if the control of breath, which relieves the throat from strain, and delivers just the right quantity of breath to the vo- cal chords, and insures steadiness of breath pressure, has been gained, many of the troubles which so persistently block pro- gress and cause discouragement will be entirely avoided. LESSON FOUR APPLICATION OF PRECEDING WORK TO TONE PRODUCTION WITH this lesson we are to begin the actual production of tone. The importance of the preparatory work of the preceding lessons has been emphasized, and it is taken for granted that those who are following these lessons have taken pains to master the exercises and establish the conditions set forth. Before proceeding with studies in tone production, it is not out of place to call attention to a condition which the most thoughtful, painstaking student is liable to encounter at this stage of his work, — a condition which will interfere with his progress, and of which he may be practically unaware. In his efforts to retain breath with open throat, his atten- tion being concentrated on the various organs and acts in- volved, he may more or less unconsciously "hold back." This "holding back" is usually so slight that the physical effort is almost unrecognizable. Indeed, it is more an act of the mind than a concrete physical act. Its effect is to produce a holding back of the tone, a sort of suspending it in the back of the mouth, a preventing it from flowing out freely. The conse- quence is a light, immature, unnatural tone, which cannot be properly developed. Of course this is a condition which must be guarded against, and certainly it is always best to avoid it rather than be com- pelled to cure it. Too great anxiety on the part of the student APPLICATION OF PRECEDING WORK, &c. 39 results in over-consciousness and over-effort. It is to prevent this that insistence has been made on an easy, pleasant ex- pression of face, and emphatic warnings given against over- effort. The mind must first recognize and then control until automatic action is established and there is no danger of self- consciousness. Care must be taken to avoid the evils of over- consciousness, which can and must be avoided. If the nature of the instruction has been clearly apprehended by the student, and his application of the exercises closely scrutinized, and if care has been taken to avoid this over-exertion, the evil of "holding back' 7 will not trouble the student in future work. Retention of breath means management of the muscles we have described and have been exercising ; it does not mean a "holding in" of the breath. Let the breath flow out evenly, steadily, firmly; let it alone, do not juggle with it; simply so control the muscles themselves that they naturally and com- fortably regulate the outflow, permitting no waste or uneven- ness, but maintaining a steady for war d pressure. There should never be a feeling of stuffiness in the upper chest, the shoul- ders should not feel lifted up, there should be no sense of sus- pension connected with the retention of breath. The feet should be firmly planted on the floor, the body resting on them in an easy, well-poised position, the arms hanging with all their natural weight from the shoulders. A good test as to whether breath is being retained without this "holding back" is to speak a sentence in a conversational tone while retaining breath as directed in these lessons. If the voice is emitted naturally, and sounds and feels like the natu- 40 THE FUNDAMENTALS OF VOICE PRODUCTION ral speaking voice, if the face and eyes and speech organs are comfortable and natural, the voice appearing to come freely and distinctly from the lips, the conditions are good. No bet- ter exercise in breath control and natural emission of voice can be had than the systematic application of these exercises to the daily use of the conversational voice. Retain breath just as we have directed while talking to your friends. Give the muscles of inhalation practice in controlling the outflow of breath while transacting the ordinary business of the day. Greet a friend with the throat relaxed, the inward and ap- proximating movement of the ribs quietly controlled, with throat unconscious, the mind intent on the conversation. Such application of the exercises will prevent the evil of which we have spoken, and when it comes to the production of a sus- tained, singing tone, there will be no radical differences of condition to be corrected or set up. Taking up the production of tone, our first work will be to make sure this "holding back" is avoided, and our first exer- cise will be an application of the last one of the preceding lesson. Exercise Nineteen. Take breath, being sure that conditions are easy and natural, retain it an instant to establish easy control, and count aloud in an easy, natural speaking voice, but with breath well controlled, one, two, three, four, Jive, six, Ah, in one breath three times. Make sure that the counting is done in your natural conversational tone, with eyes and face wearing an expression as if you were telling a friend a plea- APPLICATION OF PRECEDING WORK, &c. 41 sant story. The jaw moves loosely, the tongue and lips freely, the roof of the mouth is comfortable, and the tone rests down on the breath. There is no effort in the breath control, the breath simply stays in. The act of counting has no apparent connection with retention of breath. There must be no break between the counts (jerkiness), or between the counts and Ah. The voice moves along smoothly and evenly; all effort is at the lips and tip of tongue, and the tones sound at the lips. Exercise Twenty. This is a development of the preceding ex- ercise, and takes us a step nearer a pure singing tone. When the spoken counts can be done in a perfectly natural manner, without hurry, breath controlled by will power, and without interfering with the quality of the voice, do the exercise, sus- taining the voice at a definite pitch, beginning with middle C or D. Keep the tone at the lips, and conditions as they were in the purely conversational exercise. If, in doing these exercises, the mirror shows too much moisture, do not attempt to decrease it by holding breath. Concentrate the will on quietly regulating its outflow, by con- trolling the muscle action, and be persistent and patient until all waste is overcome. Exercise Twenty-One. Aspirate as in Exercise Seventeen, and when aspiration is well started, without disturbance of con- dition, change to sustained vocal Ah. That is, change the as- piration of Ah to a vocal Ah. The tone should be forward, com- ing from the lips, just as it did in counting, the conditions being the same. 42 THE FUNDAMENTALS OF VOICE PRODUCTION Exercise Twenty-Two. Sing Ah three times in one breath, pausing three seconds between each Ah. There will be there- fore two pauses. Start each tone without movement of the throat or of the jaw and tongue. The eyes and face should be relaxed and pleasant in expression. During the pauses there must be no escape of breath, no stiffening of the body, nor closing of the throat. Conditions throughout the exercise should remain as in the counting exercises. This exercise may be begun on Middle C, and earned up- ward by half tones as far as it can be done without rigidity. These exercises are intended to teach the student to make tone naturally, with conditions unchanged from those that have prevailed in previous lessons. Most practice should be given to the first two, Nineteen and Twenty. With the warning of the first paragraphs in mind, review the exercises of preceding lessons, practice the retention of breath while talking, and then give this lesson confident at- tention. LESSON FIVE TONE PLACING THE placing of tone is a phase of voice culture which gives much trouble. Instruction concerning it is plenti- ful and confusing. The tone should fill the mouth, and seem- ingly focus at its front. Keeping it back results in strain and a tenseness which prevents good tone and easy singing. Yet when the student tries to place it "forward," constriction of the throat, a pressing in at the abdomen, and a general sense .of effort too often result. The "held-back" tone was described in our last lesson. How shall the two horns of the dilemma be avoided? When the real meaning conveyed by the expression "un- conscious throat" is fully understood and the condition it de- scribes is recognized and established at will, the tone seems to rest on the diaphragm, the burden of control lies there, and between that point and the front of the mouth, whence the tone issues freely, there is no consciousness of action. This is a condition which the student should thoroughly master at this stage of his progress. It is not necessary to our present pur- pose to enter into an elaborate explanation of how this places the tone; it is the practical application of a truth that stu- dents need, and the establishment of a breath control which regulates a firm, steady flow of breath to the vocal bands, and the realization of an open throat, will practically settle the question of tone placing. Recurring to the work of the last lesson, which had this pur- 44 THE FUNDAMENTALS OF VOICE PRODUCTION pose in view, it is imperative that power to produce tone with- out "holding back," while at the same time keeping effort from the throat, be gained. To obtain this power, the student must be able to recognize beyond doubt the slightest manifestation of this tendency to hold back. He must be sure that his breath is retained naturally, without holding in, and that it is de- livered freely and firmly to the vocal bands. To this end, he cannot too thoughtfully study the meaning and practise the exercises of the last lesson, always remembering that they are valueless unless the thought back of them is perceived and applied. Take Exercise Nineteen : Do you really understand what is meant by the directions, "Count aloud in an easy, natural speaking voice, with eyes and face wearing a pleasant expres- sion, the tongue and jaw moving freely, the roof of the mouth comfortable, the tone coming freely and with not the slightest rasping in the throat, the counts being sounded clearly and easily at the lips"? Do the exercise, quietly scanning the condi- tions involved in complying with these various points. Is the throat free from the slightest pressure from the tone? Is there no feeling of weight at the larynx? Is the breath retained with- out effort or holding in ? Is the breath controlled by will and not by physical effort? Set your intelligence at work; make no haste. Concentrate your attention quietly, easily. Repeat until you are sure of the accuracy of your recognition and the character of your effort. If it takes several days, a week, or longer to reach this point of certainty, do not begrudge the time, for this is the crucial point of your work, and patience TONE PLACING 45 and persistence will save you weary days of discouragement later. Apply the same tests to Exercise Twenty. Can you sus- tain the counts at a certain pitch, keeping the same conditions as in the previous exercise? Does the tone fill the mouth, issu- ing from the lips without effort, rather than being forcibly pushed out ? Can you count with the inside of the mouth free from tenseness, feeling as comfortable and free from effort as when you speak in ordinary conversation? Repeat this also until you are sure of yourself, and the singing of these counts is as easy and pleasurable as the conversational tone. Three exercises are given in this lesson to carry this ease of tone production further, that is, to more certainly establish the conditions described in this and the previous lesson. Exercise Twenty-Three. Retain breath as in previous exer- cises, and pronounce in a free conversational tone, with no ef- fort at throat, fulfilling all the conditions of Exercises Nine- teen and Twenty, Za. Be sure that the Z is vibrated and does not approach S in sound. Keep the jaw loose, and feel the vi- bration of the Z at the teeth, the inside of the mouth being comfortable. Do not push the tone out, but vibrate it freely. When this speaking of Z can be done with the vibration of the consonant at the teeth, the throat remaining entirely free from effort, sing Za to the following : 46 THE FUNDAMENTALS OF VOICE PRODUCTION A V y/ y/ TT "° Za-za-za-za Za-za-za-za Za-za-za-za Za-za-za-za y/ V y/ v Za-za-za-za Za-za-za-za Za-za-za-za Za-za-za-za The flow of the tone in this exercise should be uninterrupted, as is indicated by the four Za's being sung to a whole note. The breath should be taken deliberately between each tone and gotten under complete control before the next tone is sung. Should there be any difficulty in carrying the exercise through the octave, it should be sung only so far as can be done with- out loss of control. As power is gained, the higher tones can be sung. Exercise Twenty-Four. Use the syllable La. Keep the entire tongue free from stiffness, raise the tip only with a lightning- like motion to the roof of the mouth, between Us having it lie perfectly limp. Proceed as in previous exercise. V V V v' i ~cr ~ry~ La-la-la-la La-la-la-la La-la-la-la La-la-la-la -« \ ■Qs — ° *» 1 The flow of the tone in this exercise should be uninterrupted, as is indicated by the four Lds being sung to a whole note. TONE PLACING 4.7 The breath should be taken deliberately between each tone and gotten under complete control before the next tone is sung. Should there be any difficulty in carrying the exercise through the octave, it should be sung only so far as can be done without loss of control. As power is gained, the higher tones can be sung. Exercise Twenty-Five. Use the syllable Na. Feel the vibra- tion of JV in the nasal chambers. Do not push, and keep the tongue limp. In the first two exercises the chin may move, in this it must be kept quiet. f\ V V V V I *» ~° Na-na-na-na Na-na-na-na Na-na-na-na Na-na-na-na 3T TE~ Na-na-na-na Na-na-na-na Na-na-na-na Na-na-na-na The flow of the tone in this exercise should be uninterrupted, as is indicated by the four Nets being sung to a whole note. The breath should be taken deliberately between each tone and gotten under complete control before the next tone is sung. Should there be any difficulty in carrying the exercise through the octave, it should be sung only so far as can be done without loss of control. As power is gained, the higher tones can be sung. This and the preceding lesson are very important, and the manner in which the work outlined in them is done will have much to do with future progress. LESSON SIX FORWARDNESS OF TONE IF the text of the two preceding lessons has been studied carefully, its real meaning extracted, and the exercises ac- companying it practised understandingly and watchfully, the student should be able, by this time, to perceive any tendency to "hold back" tone by too great a muscular effort to retain breath. He should be quick to recognize the "pulling in" which keeps tone in the back of the mouth. He should be able to appreciate the feeling of comfort, and recognize the sensa- tion of "forwardness" which arises when Za is properly pro- nounced and sustained on any tone within reasonable limits of pitch. He should have become conscious of the freedom of jaw and lips necessary to the vibration of the Z, with its re- sultant freeing of the tone. With such recognition established, and the ability to sing Za so that the vibration of the consonant is forward and the succeeding Ah (which should be so blended with the Z as to be a part of it) full and free, filling the mouth with tone which overflows at the lips, a fundamental of good tone production is established which will have a most beneficial effect upon all succeeding work. When the student has realized that retain- ing breath does not mean "holding in" with forcible obstruc- tive effort, but is simply the quiet, confident regulating by a simple act of the Will the inward movement of the sides and the upward movement of the diaphragm, and that it can be done without conscious muscular action, and that in singing FORWARDNESS OF TONE 49 the Will controls all movements without undue muscular effort, he will have brushed aside one of the greatest obstructions to good tone production, and will open his mouth and sing, in- stantly setting up right conditions. The exercises and instruction of the last lesson were parti- cularly intended to awaken the student to such a recognition, and are especially helpful in bringing it about. Students of this series of lessons, therefore, cannot be too thorough in their study of that and the preceding lesson. And again I would impress the truth that the exercises are only the outcome, the tangible presentation, of a thought, a principle, which must first be seized and completely mastered, before the exercise will do its real work. Begin the work of this lesson with a watchful practice of Ex- ercises Twenty, Twenty-Three, and Twenty-Four. Apply to them the instruction of the preceding paragraphs, and secure the conditions therein emphasized. Fill the mouth with Za and La. Sing the syllables with firmness and virility, but never with a push of the front wall of the abdomen or a sinking in of the soft spot (under the breast-bone) or a falling of the upper chest. Let the expression of the face and eyes be that of one who is saying pleasant things to a friend. Extract pleasure and comfort, from the exercises. Be certain that the sides are steady in their inward movement, but never tense or constrained. Make the singing of Za as natural as the pronunciation of the syl- lable when it occurs in conversation. Compare your pronuncia- tion of it with your singing, and make both equally free and 50 THE FUNDAMENTALS OF VOICE PRODUCTION comfortable. Practise until these syllables can be sustained ten or twelve seconds with ease, the vibration continuing forward. Follow with further practice of Na. This induces vibration in the nasal chambers, and is not quite so easy to locate. There may be a more or less pronounced tendency to push the tone in the effort to feel it in the nasal cavities. Beware of any such tendency. Keep the jaw loose and quiet. Place the tip of the tongue against the roof of the mouth very lightly and sing the N with the tongue there. Drop the tongue and let the tone dis- solve into Ah. Be sure that the tongue is limp, and that soft spot, sides, and front of abdomen are as in previous exercises. THINK the tone forward with the N, and sing confidently and quietly. Exercise Twenty-Six. Follow this review with the next exer- cise, which is a continuance of the practice of vibration. V V V V V V ■ - ° " m & o ^ — = =: = Oh-ah _ — Breath is to be retained as we have brought out in the last two lessons. There must be no pushing in at the abdomen, but there must be a firm, quiet control of the movement of the sides and diaphragm. Breath must be delivered to the vocal bands freely, avoiding all pushing, but with a steady pressure. Watch the soft spot, see that it keeps firm and under control. Then induce a feeling of freedom in all parts of the body. The lips must be rounded, the jaw hanging loose, the throat open and free from strain, the face and eyes easy. Sound the Oh with the FORWARDNESS OF TONE 51 lips feeling the vibration, the cheeks free from tenseness, and the inside of the mouth relaxed. Let the Oh change to A h by opening the lips and allowing the jaw to slowly fall. Let the chin and neck feel the vibration of the tone. Do not sing loudly, but freely. Let the tone overflow, fill the mouth with it as with the Za. Compare it with Za, singing first one, then the other. Close the lesson with a review of Exercises Twenty-One and Twenty-Two. Watch the retaining of breath in these exer- cises to see that it complies with the instruction given in this lesson. Make all the work of the lesson tend to such a control of breath as we have emphasized here. LESSON SEVEN FREEDOM OF TONGUE AND JAW THE thought of the last lesson was the production of a free tone which fills the mouth and overflows, leaving the throat unconscious of all effort. When such a tone is pro- duced, the throat will feel opened well down, the tube will be relaxed, and the burden of control will be found to rest with the breath. The throat being well relaxed, the breath will be rapidly exhausted unless the control of the diaphragm is good. The soft spot under the breast-bone will reflect the action of the diaphragm, and the student should soon realize what the expression "rest the tone on the breath" means. The tone will apparently have its beginning in the action which releases the breath, and between the diaphragm and the lips nothing will be interposed to interfere with its free emission. The tone will be felt to rest on the breath, floating out freely with it and with no sense of driving or effort. This is the thought I would fix in the student's mind. It is this understanding of tone production I would have the stu- dent obtain. All previous exercises have been directed toward this purpose. They have been planned to set up, in spite of the inability of the student to perceive conditions, such con- ditions as would sooner or later impress themselves on the stu- dent's consciousness. As has been said many times, the Exer- cise means nothing unless its purpose is fully, understood and eventually achieved. The ordinary method of beginning the singing of Ah with no clear idea of the conditions involved FREEDOM OF TONGUE AND JAW 53 does much to confirm conditions that are bad. The exercises here given present such conditions in a way to aid the student in recognizing them. When the tones are sung in accordance with the instructions given, the mind is directed to the pur- pose of each exercise in a manner calculated to quicken its perception of right and wrong conditions. Exekcise Twenty- Six is valuable in increasing freedom of tone, in releasing it from the trammels of throat, jaw, and tongue, when the ability to produce it without contraction of the throat has been secured. Care must be taken to avoid push- ing and to prevent all throat effort. Unless the student is watchful, there may creep into his practice some little throat action. The pushing of tone is insidious, and is indulged in almost unconsciously. Control of breath being established, the danger of pressure on the larynx from above must be prevented. This cannot be done without proper control of breath having first been esta- blished. The freeing of tongue and jaw cannot be accomplished while the breath is held at the throat. Our present lesson will make a beginning at obtaining freedom of jaw and tongue. Some of the exercises already given have been preparing the student for more definite instruction in this particular. Exer- cises Nineteen and Twenty were useful in this respect. The free use of the lips in counting while a tone is being sustained is very helpful in freeing them. When it is remembered that singing is speaking to sustained tone, the counting to a given pitch will be recognized as containing the essence of singing. 54 THE FUNDAMENTALS OF VOICE PRODUCTION The pupil frequently overlooks the fact that in pronouncing words while singing, two distinct, yet related, acts are being performed; namely, the sustaining of a tone and the use of the speech organs in pronouncing the consonants, &c. These acts are being performed simultaneously, yet are distinct. When the two are done together, there arises the liability of interference. The action of the jaw, tongue, and lips in pronun- ciation is apt to bring pressure on the larynx and to interfere with the production of the sustained tone. Hence it is not enough to become proficient in singing the vowels to certain tones; there must also be acquired power to use the tongue, lips, and jaw without undue muscular effort, and leaving the act of tone production untrammelled. For this purpose our next exercises are introduced. (See figuee S.) » A study of these muscles of the tongue will greatly assist the student to understand the purpose of all exercises which have to do with the freedom of tongue and jaw. The power to use the tongue without rigidity or interference with the con- dition of the throat is an absolute necessity in good tone pro- duction. Exercise Twenty-Seven. Sing La four times in one breath, the jaw hanging loose, the chin still. Only the tip of .the tongue should be used. The rest of the tongue should be limp and free from all effort. The student must keep in mind that he is singing a sustained Ah, interrupting its even flow with four Us, made by a lightning-like movement of the tip of the tongue. The throat should feel as it has in previous exercises. FREEDOM OF TONGUE AND JAW ss FIGURE 3 MUSCLES OF THE TONGUE Description : A. Tongue. B. Muscles connecting tongue with chin. C. Chin. D. Muscles running from sides of tongue to tongue-bone. E. Tongue-bone. F. Muscles connecting tongue with skull at back of mouth, O. The attention of the student should be directed to the back of the tongue to make sure that it is lying limp and undisturbed by the movement of the tip. The La should not have a pro- longed roll of the L. This exercise is one requiring care to get it right. It will do much to free both tongue and jaw from rigidity. /I . V -J y/ V ~o~ La-la-la-la La-la-la-la La-la-la-la La-la-la-la V V V v ~o~ La-la-la-la La-la-la-la La-la-la-la La-la-la-la 56 THE FUNDAMENTALS OF VOICE PRODUCTION Care should be taken in this exercise to have the tongue pro- nounce the L at the same time the larynx produces the tone. Watchfulness will discover that the tongue is very apt to re- main at the roof of the mouth too long. It should chiefly be at rest on the floor of the mouth, being lifted quickly to form the L at the exact instant the larynx starts the tone. Exercise Twenty-Eight. Sing Ga four times in one breath, chin still, the tip of the tongue lying close, but loosely, to the lower front teeth. The back of the tongue toward the middle should be raised limply to the roof of the mouth, touching the upper back teeth. It should not be stiff, and the sound of G should be soft and not guttural. This is a hard exercise and will test the student's patience, but it will free the back of the tongue from stiffness and relieve the larynx from pressure. It is especially helpful in singing high tones. A V V V V F fiF' Ga-ga-ga-ga Ga-ga-ga-ga Ga-ga-ga-ga Ga-ga-ga-ga V V V 1 V ~n- t Ga-ga-ga-ga Ga-ga-ga-ga Ga-ga-ga-ga Ga-ga-ga-ga '■■&- etc. Ga-ga-ga-ga Ga-ga-ga-ga The movement of the tongue should be forward and upward. The jaw should be kept quiet, but entirely free from stiffness FREEDOM OF TONGUE AND JAW 57 or a sense of holding. The tone should flow steadily during the pronouncing of the four Go's. If stiffness becomes marked as the upper tones are approached, leave them until further practice gives a control which will prevent strain. A review of the exercises given thus far should be had regu- larly. It will be well to begin the practice at frequent intervals with Exercise Twelve. Follow with Exercises Fourteen, Seventeen, Twenty-One, Twenty-Two, and Twenty-Three. Then take up the work of Lessons Five, Six, and Seven. In all practice, remember that study is more than practice, that it is the mind, the will, that conquers, and not mere repe- tition. LESSON EIGHT FREEDOM OF TONGUE AND JAW (CONTINUED) THE training of the tongue and jaw and lips in the for- mation of consonants without disturbing the produc- tion of vocal tone is exceedingly important. It requires espe- cial attention and exercises particularly adapted to that end. Continued vocalization will not do it. It is a fact that some students whose vocalization is remarkably good, who can sing vocalises with good tone, do not produce the same results when songs are sung. The combining of consonants and vowels into words seems to cause deterioration of tone. The two dis- tinct, yet related, acts mentioned in the last lesson fail of proper coordination because attention is principally directed to the acquirement of good vocal sounds. There is as much, if not more, value in the use of consonants ; and the exercises which are here used are intended to give control of both the produc- tion of tone and the pronunciation of consonants. They give the training of tongue, jaw, and lips which is necessary in uniting the two acts of singing. The two exercises of the last lesson were for the tip and the back of the tongue. The exercise with Ga is particularly valuable. It enables the student to raise the back of the tongue without producing tension at the back of the jaw, and frees it (the tongue) from the jaw. If conquered, it will relieve the larynx of much of the pressure which the young voice student is apt to suffer from, and assists in securing a relaxation at the back of the tongue which is essential to good and easy tone. FREEDOM OF TONGUE AND JAW The next exercise carries this work still further. 59 Exercise Twenty -Nine. Sing the three vowels A-E-I, chan- ging from one to the next without break and with constantly relaxed throat. V y/ y/ v/ # M* m t ~o a-e-i a-e-i a-e-i a-e-i ^ m = ^ TV -o- a-e-i a-e-i a-e-i a-e-i The chin should remain entirely still, the jaw hanging loosely open. A is pronounced as in the first syllable of father; E, as in the first syllable of ever; and /, as in will. The tip of the tongue lies loosely against the lower front teeth, and the vowel sounds are made by raising the middle of the tongue limply toward the roof of the mouth. Note that if the tongue is lifted, without stiffness, and but slightly, it will change Ah into Eh, and' if lifted a little more, still without stiffness, it will pro- duce the /. The student must watch closely to be sure that the exact shade of the vowel is secured. The tongue should not spread over the mouth, but should be lifted easily and without consciousness of muscular action. The conquering of this exercise will mean the avoidance of many troubles which lie in wait for the student when songs are sung. It makes easy the difficult vowel sound of long E, the English E. The freedom it gives the tongue bears upon all other work, and makes tone production much easier. 60 THE FUNDAMENTALS OF VOltE PRODUCTION The balance of this lesson will be devoted to what we may call a practical application of the results of these exercises. With breath control established, and with the tongue and jaw freed, to a considerable degree at least, tones made on the various degrees of the scale should show results. First, sing Ah, sustaining it from six to eight seconds, or longer if it can be done easily, on the degrees of the scale, beginning with D Jlat, and going as high as can be done without contraction of the throat or tension at the back of the tongue. Note the conditions of attack and release, recognize all tendencies to change conditions during the sustaining of the tone, or in taking a new one. Let the mind analyze all that pertains to the production of the tone, with- out arousing over self-consciousness. Finally, listen to the tone, noting whether it be mellow, full, round, and easy, lo- cated in the front of the mouth, the inner lining of which is relaxed, the breath firmly supporting the tone, with no ten- dency to pushing. Follow this with a succession of tones, first taking thirds, as Do, Re, Mi, beginning on D flat, and going as high as can be done without strain. Then the fifths, Do, Re, Mi, Fa, Sol, in the same way. Notice whether the breath pressure against the tone remains firm when the pitch is changed, that is, when the change from one tone to the next is made. Watch also for changes of condition, be sure that each tone is taken without throat action, and with the tongue limp and lying naturally in the mouth, each tone floating out on the breath. As the tones grow higher in pitch, be careful that the tongue does not FREEDOM OF TONGUE AND JAW 61 draw back. Should it do so, the result will be pressure on the larynx, which will prevent good tone. V v I t>al l?gJ ! r J \>e) I i, 1[ t qgJ ^ 4 : -TJ- Ah Ah [J tjrJ 1 a rJ I 1, lltjgl-ttJ 1H fl* Ah. Ah 3t ~rr Ah. ft J #«* 1 F pH=ff EC Ah -&- Ah. Ah t,J U I » ^ ^^ =a=fe tct- Ah t } J ^ ' tt " PE Ah. i>J t |" U \W i J -T5" rs: i « g «i Ah THE FUNDAMENTALS OF VOICE PRODUCTION g t>jP 35: Ah If the higher tones of these exercises can be sung with ease, they can be carried still higher, but there should be no stiffen- ing of the jaw and tongue. No accompaniments are given to any of these exercises. They should be practised standing, and with attention concentrated solely on the conditions obtaining during the singing. With the work last outlined, carry on the review suggested in the previous lesson. Give much careful attention to Exer- cises Twenty-Seven and Twenty-Eight. They react directly on the work of this lesson. Remember that vocalization is not enough, that the consonants are very important in developing tone. Think, study, and practise. LESSON NINE APPLICATION OF PREVIOUS STUDIES TO THE SCALE AND BROKEN CHORD THE work of the last lesson was exceedingly important in its application of the powers gained from the study and use of preceding exercises to the singing of a succession of tones. As has already been said, it is necessary to become keenly alive to the conditions which accompany right and wrong tone production. This sensitiveness to conditions, with an accompanying understanding of what is right, can best be gained by the exercises given in preceding lessons. Single tones produced under right conditions may be followed by these successions of tones, in which the ability to maintain proper conditions is more severely tested. The underlying thought is that the control of breath, the freedom of throat, tongue, and jaw have become so habitual that they can be maintained, with a little practice, during the singing of longer phrases. It is hardly needful to say that this is absolutely essential to the singing of scmgs. It has been the purpose of these lessons to impress the student with the thought that such control is dependent upon his mental attitude, that the Will must be educated to main- tain a steady, firm, but reposeful control over all activities, so governing the breath action that it automatically meets 1 the varying demands, keeping the tone firmly forward with- out undue physical effort, there being at no time any sense of physical strain. If this control of Will be acquired, the basis 64 THE FUNDAMENTALS OF VOICE PRODUCTION of vocalization will be sure, and the tone will be such as is sus- ceptible of growth and increased resonance. If the preceding studies have been thoroughly understood and the work they demand properly done, the student will find little difficulty in their application to successions of tones. Changes of register, which usually give so much trouble, mak- ing the smooth and comfortable singing of a scale impossible, will adjust themselves naturally without effort or thought on the part of the singer. The tendency, which shows itself when the upper medium and head registers are approached, to per- mit the tone to fly back, producing a hard, whooping quality, will be easily overcome, and tone placing will be done easily and practically unconsciously. If the student has difficulty in singing fifths and scales without the intrusion of these faults, he can rest assured that previous work has not been well done, and that somewhere he has failed to understand and conquer some condition which interferes with easy control of tone. Failure to control breath through the opposition of inspiratory muscles to those of ex- piration, with the throat open and unconscious, stiffness at the base of tongue, a slight withdrawal of breath pressure be- tween tones, a slight setting of the jaw, will effectually pre- vent the singing of a smooth scale with the tones forward. The remedy is obvious: Take up the work in which failure is found and master it. Proceeding with the application of previous work to sing- ing, we take SCALE AND BROKEN CHORD 65 Exercise Thirty. Ability to sing thirds and fifths with steady breath pressure, relaxed, quiet throat and jaw being acquired, sing a scale beginning on D or DJlat for Sopranos or Tenors, C or BJlat for Altos and Baritones, and A for Bassos. See that conditions remain as described in the last lesson throughout the entire scale. Take care to maintain such breath control that the tone is kept forward by it without pushing. Do not sing with force, but with quiet firmness, and be particularly at- tentive to the mental attitude. If there be the slightest shrink- ing of the Will before any tendency to change of condition as the higher tones are approached, the breath will feel it, and stiffness of tongue and jaw and a loss of control of tone will result. When the Will is quietly firm, anticipating each tone and preparing the singer for it, the singing of the scale will be easy and delightful. Exercise Thirty-One. Follow the scale with broken chords, first taking the fifth Do, Mi, Sol, then Do, Mi, Sol, Do. V V This exercise should also be sung ascending and descending. 66 THE FUNDAMENTALS OF VOICE PRODUCTION V Ah_ P "TX" These exercises should be begun on lower keys, and carried higher, according to the voice with which they are used. The basic thought is to be able to apply to them, in whatever register, the principles of preceding lessons, and to sing them without stiffness of tongue, throat, or jaw, and with quiet, easy control of breath. The student should not understand that these exercises, and the various parts of each exercise, should be sung hastily and in rotation. Take each variation of each exercise and repeat it until power to sing it with satisfactory control is gained. Thus, take a scale beginning on C/sing it until the points brought out in the instruction have been reasonably mastered, and only then take the next key. So in the other exercises. It is the substance that we want. Just as the singing of many vocalises will not necessarily give control of tone, so the singing of these exercises in routine fashion will not accomplish the work they are intended to do. Much depends on the care and judgment of the student. Watchful- ness and careful thought are absolutely essential. Exercise Thirty-Two. Sing fifths and scales, as last described, using the syllable La with each tone. Do not let the L inter- fere with the sustaining of the tone or the control of breath. Maintain the same steady breath pressure as in the vocalized exercise. Use the same syllable with the scale and broken chords. SCALE AND BROKEN CHORD 67 ^m " \ & —k La la la la la la la la la |j ,j a i rJ g ) \y . -& — » *~rr- "-tr" — » ' — a - La la la la la la la la la * ■e — - ::z La la la la la la la la la [J I p Vo =^-: pp ~rt~ La la la la la la la la la La la la la la la la la ? P I ' ; B rJ La la la la la La la la la la v La la la la la 68 THE FUNDAMENTALS OF VOICE PRODUCTION With the work of this lesson, practise the exercises in breathing in Lesson One, the counting exercise in Lesson Four, and Exercises Twenty-Three and Twenty -Four. The exercises in aspirating (Exercises Seventeen and Twenty- One) are a good study for control of breath and freedom of throat. In Exercises Twenty-Three and Twenty-Four watch the lips, freeing them from stiffness. The exercises of this lesson should also be sung with the syllables Ma and Na and Za. LESSON TEN APPLICATION OF TONE PRODUCTION TO SUSTAINED PASSAGES THE work of past lessons has been directed toward the maintenance of right conditions during the singing of successions of tones. The practice of scales and broken chords, &c, should be a part of each day's work, the sugges- tions given in Lesson Nine being carefully followed. Groups of tones, including the various skips and combinations gener- ally used by voice teachers, should be practised systematically. Sieber's Eight Measure Vocalises or Concone's Op. 9 can be used to good advantage at this stage of the work. The sylla- bles which Sieber has used with his vocalises are very helpful in following out the thought of these lessons. The pronuncia- tion of the consonants involved in their use is a great aid in tone placing, and also aids in distinct enunciation. In singing these exercises and vocalises, the student should keep a quiet, confident control of breath, the upper chest be- ing kept firm without muscular rigidity. The breath pressure should be steady, the tone resting on the breath. All these con- ditions should be manifestly the result of a complete control of the action of the diaphragm and rib-muscles. As was inti- mated in the comments on Exercise Thirty, this firmness of breath control is dependent on a quiet confidence which keeps the mental attitude unshrinking in its attack of each tone. It is this sense of reposeful control, of certainty in attack, which produces mellow, resonant tones and keeps them. well placed. 70 THE FUNDAMENTALS OF VOICE PRODUCTION Too great stress cannot be placed on the importance to the student of thinking the tone and establishing the conditions which govern good tone as a preliminary to its actual produc- tion. While, at first, this mental preparation requires consid- erable attention and care, it will eventually become second nature and be done instinctively and automatically. These suggestions are reiterated because voice students are prone to overlook them and fall into the habit of striving after tones, setting up wrong conditions, and floundering more and more deeply into faults that cause serious trouble. We are dealing with the fundamentals of tone production, and if we would have these fundamentals well established, when we wish to join the act of tone production with that of singing in the interpretation of song, we cannot too carefully watch the de- tails. It is important that the power attained by the practice of the exercises of previous lessons should be certainly and pro- perly applied to the singing of such scales and other tone studies and vocalises as are used at various stages of our pro- gress. The mind should be alert to perceive and control. The joining of tone to tone should be done with steady breath pres- sure and quiet assurance. Our next exercises will deal with the vibratory consonants, the first being a development of Exercise Twenty-Three . Exercise Thirty-Three. Sing Za four times in one breath. Vibrate the Zat the teeth, as in Exercise Twenty-Three, tak- ing care that a buzzing Z is sounded and not the hissing sound. SUSTAINED PASSAGES 71 Keep the jaw loose, the tongue limp. Let the vibration of the Z extend to the entire jaw. Fill the mouth with the tone, and let it overflow. Be sure that the breath is steady ; do not ex- plode the Za, and do not push it. Keep the vocal tone sounding continuously during the exercise, bringing the teeth loosely together to vibrate the four Z's. This is an excellent study in freeing the tone and getting it well forward. There is likely to be a tendency to push the syllable in the attempt to vibrate the Z. The caution already given to avoid this should be kept in mind. y" -J y/ v £ tr TS Za-za-za-za Za-za-za-za Za-za-za-za Za-za-za-za V V / v m 1 ^* Va-va-va-va -fe — » Va-va-va-va Va-va-va-va — & Va-va-va-va V =1 Both these exercises also have the merit of preparing for the pronunciation of words. In this connection it will be well for the student to review all exercises introducing the use of con- sonants, taking care to enunciate each consonant distinctly according to the directions given. As an additional study, practise A-E-I, as in Exercise Twenty-Nine, then sing it on two tones in the one breath. Thus: Exercise Thirty-Five. Sing A-E-I on the tone C; then, with- out break or change of condition, repeat it on D. Proceed up the scale as high as can be done without strain, repeating the vowels to two tones without interfering with the proper con- ditions. When these seconds can be sung well, sing it in thirds (C-E), &c. ; then in fourths, and even fifths. Watch the breath at the change of pitch; see that there is no jump of the dia- phragm, but a steady pressure of breath which keeps the tone quietly, but firmly, to the front. ~rr 3T "O - "TT" a-e-i a-e-i a-e-i a-e-i a-e-i a-e-i a-e-i a-e-i ~rr a-e-i a-e-i a-e-i a-e-i a-e-i a-e-i SUSTAINED PASSAGES 73 * ZZl ~rr ^ « a-e-i a-e-i a-e-i a-e-i a-e-i a-e-i * zzz "rr~ 3E a-e-i a-e-i a-e-i a-e-i a-e-i a-e-i ^2= ;zr ~r«~ a-e-i a-e-i %3 a-e-i a-e-i a-e-i a-e-i * 3E zz: a-e-i a-e-i a-e-i a-e-i , The exercise may be sung in fifths, &c, when smaller inter- vals are mastered. The freedom of tongue and control of tone which results from the use of this exercise is very valuable both as an aid to pronunciation of words and in improving the quality of the tone. A variation of the exercise is to sing La four times to the first tone and A-E-I to the second. LESSON ELEVEN GOOD TONE — THE CONDITIONS WHICH PRODUCE IT IT is very important that the student of voice culture should understand what is meant by good tone. The familiar ver- dict, almost invariably given when some voice is under dis- cussion, that "he (or she) has such a strong voice," as if that summed up all the attributes necessary to a singer, is simply an indication of the prevailing idea that a voice to be good must be loud. Unfortunately too many voice students are like-minded and strive after volume at the expense of all that makes a voice really desirable. They think that in singing a tone which is not loud and strong they are failing to derive any benefit from their studies. Their voices must show immediate gain in vol- ume or their work, in their estimation, is radically wrong. This is a serious mistake, and, as has again and again been pointed out, these are ideas which interfere with the production of good tone. The effort involved in the attempt to produce loud tone is certain to give rise to a muscular action which results in ten- sion and strain. The throat will be contracted, the tongue stif- fened, and the larynx placed under a pressure which leads to multiplied difficulties, and the tone will invariably be strident and harsh. These conditions we have been particularly trying to avoid. Our steps have been taken cautiously and with minds closely concentrated on our endeavor to establish a condition of freedom and ease. The mistaken notion that tone must be loud defeats us. Good tone is not necessarily loud tone; more often it is GOOD TONE — CONDITIONS 75 found in the small voice which so many depreciate. The stu- dent should understand and always keep in mind that quality comes first and volume afterward. By this I mean that he should strive rather to develop the quality, the character, of his voice, leaving its "bigness" to be settled later. The great voices, which attract so much attention because of their vol- ume, are given to comparatively few; the large majority of even concert singers have smaller voices, but when the quality is rich, mellow, and expressive, the small voice is far prefera- ble to the loud, strident, inexpressive voice, even though it may be called "big." If those who have been studying these lessons have under- stood them, and have practised them according to the instruc- tions accompanying the lessons, they have doubtless discovered that "big" tone soon became impossible, that when the exer- cises were sung according to directions, the tone could not be made big. Perhaps some have been troubled by the decrease in tone. Whereas they once possessed quite a noticeable volume, the practice of these exercises made the voice much smaller. To these I would say there is no need for anxiety; if you will listen closely and observe the results while you are sing- ing the exercises given in the last two or three lessons, you will become aware that tone quality has greatly improved and control and expressiveness of voice have increased. This has been the objective point of these first lessons. They are les- sons in the fundamentals of tone production, and quality is, or should be, the first desideratum. As control over the vocal ma- chinery becomes more perfect, intensity of tone will come with- 76 THE FUNDAMENTALS OF VOICE PRODUCTION out increase of muscular effort, greater resonance will be ob- tained without inducing strain or rigidity, and the tone will steadily grow fuller without losing any of its mellow, expres- sive quality, until the full power of the voice is available. Quality of tone is affected by the condition of the mem- branous lining of the mouth and pharynx. If this be sensitive, the tone quality will be right ; whereas tenseness at the roof of the mouth, a hardening of the membranes, will cause deteriora- tion of tone. The expression of the face and eyes is indicative of the condition of the roof of the mouth. Hard, staring eyes and a rigid face are the accompaniment of a tenseness of the pharynx ; hence the repeated directions to practise exercises with easy face and smiling eyes. There is an exceedingly close relationship existing between all the acts involved in singing, which the student must recog- nize and understand if he would truly cultivate his voice. Freeing the larynx from strain through proper control of breath involves independence of tongue and jaw and a sensi- tiveness of the surface of the membranous lining of mouth and pharynx, which, in its power, is like that of the tea-taster who, merely touching the sample to his tongue, instantly di- vines its quality and grade. No one part of the work can be misunderstood or neglected without injury to the whole, and any effort to drive tone in order to make it sound "big" will result in a derangement of it all. These lessons have been based on this foundation principle; quality has been sought as the first requisite of all singing, with the knowledge that the conditions which are potential in GOOD TONE — CONDITIONS 77 producing tone of the right quality will also bring at the proper time the full resonance of the voice. The exercises have been planned for this purpose, their order has been determined by it, and the accompanying instruction has aimed to empha- size it. Practise the exercises of the last three lessons, watching closely the quality of tone. Is there entire absence of strain? Does the mind firmly control all actions involved? Are the tones easy, mellow, full without being loud? Is the breath pressure steady, supporting the tone firmly? It should be remembered that the tone should never be louder than the breath can support when perfectly under con- trol. If in the effort to sing loudly there is any loss of breath control, any pressing in of the abdomen, a greater demand on the breath than can be met without strain, the quality of the tone will suffer. In the practice of all work given in these les- sons, let this thought be constantly in mind. Practise scales slowly, noting the character of the effort and of the resulting tone. See whether the pharynx and roof of the mouth are sensitive. Keep breath firmly against the tone, but do not push. It will be helpful to practise the exercises for the breath (in- spiration and retention) alone. If the control of breath is to be equal to the largest demands of full voice, too much work cannot be put on the exercises which give this control. Keep at it until the power to retain breath easily for thirty seconds or more is had, the face and throat remaining easy and free from, even the approach of strain all the time. 78 THE FUNDAMENTALS OF VOICE PRODUCTION Then apply this power to the exercises in tone production, with thought on the quality and resonance of tone, always keeping conditions right. The exercises which develop reso- nance may be given especial attention. They are numbers Twenty-Three, Twenty-Four, Twenty-Five, Twenty-Six, and Thirty-Four. LESSON TWELVE FINAL SUGGESTIONS IT has been the purpose of these lessons, dealing as they have with the fundamentals of voice production, to pre- sent the factors involved in the proper use of the singing voice in such way as will make them easily understood and readily and effectively applied. With the study of songs and vocal- ises for the purpose of acquiring style and facility they have had nothing to do, except in the exceedingly important par- ticular of thorough vocal preparation and control of voice, and the equally important matter of acquiring ability to so use the organs of speech in conjunction with tone production as to make distinct enunciation, with undisturbed tone qual- ity, an assured fact. The study of singing, of song interpretation, is the work of a lifetime. Artistic excellence comes with growth in knowledge and gain in experience. But the vocal foundation, on which the artistic interpretation of songs rests, is a matter of con- centration on certain conditions which must be understood and controlled with automatic ease and certainty. This is a study distinct from singing and should precede it, yet is so closely allied to it that while the principles on which it rests are being developed, the artistic thought may be inculcated at the same time. Care should be taken, however, to avoid confusion or any distraction of the attention from the real work in hand. These lessons have been based on the singling out of the es- 80 THE FUNDAMENTALS OF VOICE PRODUCTION sential conditions of tone production; and their presentation in a clear, definite manner has been the aim. Lesson Eleven contains instruction vital to the successful prosecution of the series. In the light of that instruction the preceding lessons should be studied, and the exercises suggested in them be practised. The student should have clearly in mind that satis- factory issue from his work can result only when the founda- tion is well laid ; everything depends upon a complete mastery of the lessons in breath control. If trouble develops later in the course, in nearly every case it will be possible to trace it to a failure to master some detail of the act of inspiration or breath retention, as given in early lessons of the series. Hence it is important that frequent examination of the habits of breathing and breath control should be had, with constant practice of the breathing exercises. A letter, recently received by the writer, states that the stu- dent is troubled by a fatigue of throat despite years of study with some of the best teachers in America and Europe. If the throat be healthy, which we conclude from the letter, it is al- most certain that the trouble arises from a failure in some act of breath control. It is difficult to prescribe definitely for a trouble without hearing the student sing, but I am quite sure that this case is typical and that there has been failure in cer- tain fundamental exercises in breath control, which, if studied and practised until mastered, would cause the difficulty to dis- appear. In this last lesson I desire to stress as strongly as possi- ble the importance of the early lessons and of the absolute neces- sity of being sure that breath is taken and controlled properly. FINAL SUGGESTIONS 81 Allusion was made in the first paragraph to the relation of the work of these lessons to enunciation. The common fault of Americans, namely, disagreeable speaking voice and slov- enly pronunciation, can be overcome through the use of these lessons. The relaxation of throat, the resting of the tone on the diaphragm, and the control of tongue, jaw, and lips which will result from the exercises, will be productive of a pleasant, speaking voice and a distinct enunciation for the speaker as well as the singer. As a last word, I would urge the careful use of the lessons relating to breath action until there is no doubt that breath is properly taken, retained, and delivered for use; then the study and practice of all exercises which have to do with free- ing throat, tongue, and jaw from stiffness or constriction. When these essentials are established, the application may be made as in Lesson Eight, and when the student is able to diagnose his condition, and can distinguish the feeling of com- fort and certainty of placement in his production of tone, the systematic use of vocalises and songs may be begun. PART III SUITABLE SONGS PART III SUITABLE SONGS THIS little work is not intended to furnish instruction in the singing of songs; in fact, to attempt to sing songs before tone production is well mastered and the voice placed is decidedly harmful, and will retard vocal progress. The book is simply what its title indicates: Twelve Lessons in the Fun- damentals of Voice Production, purely a series of preparatory lessons leading to more advanced work, which in due time would include the singing of songs. To make the manual more useful, however, the following list of songs suitable for an early, and comparatively undevel- oped, stage of voice control is added. The songs included have been selected with a view to their adaptability to a degree of advancement which does not permit such freedom as later will be gained. Therefore, no songs requiring particular vocal tech- nique, great breadth of tone, unusual range of voice or tone color, or great dramatic delivery have been included. This does not mean that when the student has acquired such powers they may not be effectively employed in singing these songs. It is ob- vious that the simplest song can be made much more effective by their application. This list is intended to suggest such songs as can safely be used when the absence of such vocal equipment must be taken into account. It comprises only the later songs. The songs have been divided into three groups,— the first comprising those simple in melody and musical sentiment, the second and third advancing to somewhat higher grades of mu- 86 THE FUNDAMENTALS OF VOICE PRODUCTION sical and vocal requirements, and demanding a better control of voice. GROUP I The songs in this group have clearly defined melody, easy accompaniments, with harmony quickly caught. They are sim- ple in form, and the voice parts contain no intervals that are particularly difficult for the voice. They require little or no dramatic breadth of delivery. The teacher can easily select from the list songs which will assist in the management of voice in connection with the regular work in tone production. While none of the songs are trashy, they vary in real musical worth. They have been selected for their adaptability to the purpose mentioned above. Title Composer As Drooping Fern for Dewdrops Wrn. Arms Fisher Beautiful Land of Dreams, The A. Gertrude Clark Key <& Compass * Eb (c-Eb) F(c-F) Gb (db-gb) Db (ab-Eb) Eb (bb-F) Eb(bb-Db) 6{d-F) Ab (d-Eb) Bb (E-F) Eb (e-Eb) F(d-F) Perley Dunn Aldrlch Eb (bb-C) O (d-E) Reginald deKoven A (E-E) C(G-y) L. Denza C min. (c-E) E min. {E-gf) * In giving the compass, notes on the staff are indicated by capital letters; notes above or below the staff by small letters. Daddy's Little Baby Boy Daisies Dear Little Heart 4( Dolly Mandarin Dream of the Rose Dutch Lullaby Ever of Thee W. H. Neidlinger C. B. Hawley J. C. Macy It Francis Bohr SUITABLE SONGS 87 Title Ferry for Shadow Town, The Forgotten Good Night, Little Girl Lethe Little Boy Blue it Little Flower Love's Answer Love's Conquest Lucky Four-Leaf Clover Lullaby, A Lullaby Lullaby of the Night, The Madrigal Mr. Dream-Maker Merry Brown Thrush, The My Heart is Singing Composer Reginald deKoven Eugene Cowles J. C. Macy F. Boott Florence B. Joyce Bertha Remick Francis Bohr August Wm. Hoffmann H. Wakefield Smith Louise Keeler Gaston Borch Frank H. Brackett Carlo Minetti R. H. Woodman Dudley Buck Gertrude Sans-Souci Key A Compass * Ab (c-Eb) Bb (d-F) Eb (bb-C) F(c-D) Ab(Eb-F) Ab (g-Db) Bb (a-Eb) O (b-F) C(c-0) D(d-D) E {E-E) Eb (bb-D) G (d-FS) F(c-D) E (b-Cf) 6b (db-Eb) C(G-g) Eb (bb-Eb) F(c-E) C (c-E) Eb (Eb-Eb) Eb {bb-Eb) F(c-F) G(d-g) F(d-F) A {E-E) E (a%-E) F(b-F) G (Org) Bb (bb-Eb) C{c-F) D (c-g) R.Huntington Woodman G(b-F$) O (c-E) Morning-Glory Song, A Mother's Song, A * In giving the compass, no\es on the staff are indicated by capital letters ; notes above or below the staff by small letters. 88 THE FUNDAMENTALS OF VOICE PRODUCTION Title Composer Key dt Compass Past and Future Reginald deKoven Bb (bb-D) a tt C (e-E) tt tt D (d-FS) Pictures in the Fire C. S. Briggs Eb {bb-D) tt " F (c-E) tt tt Ab(Eb-g) Port of Dreams, The Frank H. Brackett Eb (c-Eb) tt " F(D-F) a tt G(E-g) Proposal Frank H. Brackett C(d-E) tt tt E (F$-gt) Robin, The tt W. H. Neidlinger tt Ab(Eb-Eb) C(G-g) Rose Song, A E. R. Kroeger D (cPFt) Serenity Mary Turner Salter tt Eb (d-F) Ob (F-ab) Sleepy Song Katherine Roche Db (db-Db) Shoogy-Shoo, The Grace Mayhew C (a-D) K tt Eb (c-F) " tt F(d-g) Summer Noon Anice Terhune tt Eb (bb-F) G(d-a) Twilight Lullaby, A C. Mawson-Marks tt F(c-E) Ab {Eb-g) Vesper Prayer, The F. H. Brackett C (b-D) tt tt D (OrE) tt tt Eb (d-F) tt tt F(E-g) Wind is Awake, The Homer N. Bartlett Bb (d-F) tt tt Db (F-ab) GROUP II The songs included in this group are but slightly more diffi- cult than those of the first group. In fact some of them may * In giving the compass, notes on the staff are indicated by capital letters; notes above or below the staff by small letters. SUITABLE SONGS 89 be used in place of those first named. But as a rule they will require a somewhat greater control of voice, a broader tone, and fuller powers. Title Composer Key b (F-ab) D {b-Ft) F(d-a) F(c-F) Ab(Eb-ab) F. W. Cheeswright Reginald deKoven Title I love you Mine Only, Mine Alone My Lady My Lady's Garden Poppies Prayer, A Rose Once Grew, A Sea-Way it Spanish Song Sweetest Flower, The Sweet is Tipperary Tired Under the Rose Why do I love You Winter Lullaby, A Wistaria Composer Carl Sobeski Percy Starnes Mary Turner Salter F (c-a) E {b-E) G(d-g) E (athB) G (c$-D) Bb (a-Eb) Db (c-gb) C(g-D) Eb {bb-F) C min. (c-Eb) D (b-E) G (E-a) C(g-B) D(a^E) Ab(d-F) C (fe-D) D(c%-E) F(E-g) Florence Ednah Chipman C (c-E) m (db-F) Eb (Eb-g) Ab(c-Eb) Bb(d-F) G min. (c-g) E. E. Starr Marie von Hammer Lillian T. Sheldon Cora Decker Sargent Arthur Lieber Wm. Arms Fisher August Mignon Wm. Arms Fisher Reginald deKoven Marie Rich B5-46 * In giving the compass, notes on the staff are indicated by capital letters ; notes above or below the staff by small letters.