Training the Singing Voice - online book

An exploration of the theories, methods & techniques of Voice training.

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s42                        TRAINING THE SINGING VOICE
the direction of the outflowing breath, so that the throat and laryngeal regions may be entirely freed from conscious muscular effort and re­sultant constrictions. [139, p. 53]
The technical application of the upward and forward focusing idea varies from teacher to teacher. But all are not agreed as to the interpreta­tion of this principle. [Bartholomew 39] The following typical pedagogi­cal concepts present the case for those who favor the voluntary control of vocal focus in singing.
1.  Alternate open and closed mouth production will help keep the voice focused at the highest point in the head. [James 300, p. 39]
2.  The tone should be directed into the cavities bounded by the cheek tones and allowed to vibrate freely there. [Mme. Schoen-Ren^
493]
3.  Vocal tone seems to start in the place where the ng in sing is lo­cated. [Brown 78, p. 56]
4.  Never sing backward or downward since voice production comes from the front part of the mask. [Altglass and Kempf 8]
5.  The tone is always focused at the place where forehead and nose meet. This vibratory sensation and that of head resonance are indispen­sable in any manner of singing. [Samoiloff 484, p. 27]
6.  All right tone, whether in word, song or shout, is formed behind the nose bridge. [Lloyd 351, p. 14]
7.  Forward tone is one of the principal aims of the vocalist. Simply direct the tone energetically to the front of the mouth behind the front teeth. [Scott 501, p. 65]
8.  When you think your tone forward to the front of the hard palate, you automatically put your mouth in the correct position far good reso­nance. [Henderson, W. J. 243, p. 61]
9.  As the pitch rises the focus of the voice gradually moves farther bad: along the hard palate. [Kwartin 325, p. 43]
10.  The intimacy between vocal sounds and their verbal vehicles es­tablishes a close relationship between the larynx and the mouth and gives rise to the dictum that voice must be placed in the mouth. [Mara-fioti 368, p. 72]
ii. The sound should be aimed at the front of the mouth. [Jacques 299, p. 361
12. Devote the first part of each practice period to concentrated work on replacing tone in the mask. [Vivian della Chiesa 135]
15. Strong vibration is felt back of the nose and under the eyes. This forward ring gives solidity and character to the vocal tones. [Jessica Bragonette 146]