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TRAINING THE SINGING VOICE |
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that humming in itself is less certain as a mode of vocal attack than is open singing. [583] James is of the opinion that no consonant that closes the lips should be used for controlling vocal tone or breath, since this produces a strain in the neck which results in contraction. [300, p. 39] M will always prcxiuce the richest vocal resonance. It is the basis of all vocal tone and all our vowels are merely modifications of this consonant. [Scott 501, p. 21 and p. 8] Some singing teachers prefer the sound of n as a humming devict since it drives the tone where it always should be. [Lloyd 351, p. 3] Others recommend I, m and n because they are so near to the natural resonance quality of the singing voice. [Sidles 564]
Shaw and Efnor agree that humming promotes the fundamental vocal tone. [518, p. 184 and 159, lesson 4] It is assumed that by fundamental vocal tone a fundamental resonance is meant although this point is not made clear by the texts mentioned. Other texts hold that humming practice is helpful in developing the so-called forward placing of the voice [Stock 589], and that humming gives the best sensation for placement. [Hok 278, p. 29] Humming is beneficial because it induces freedom and relaxation and prevents throatiness. One cannot hum well without being thoroughly relaxed throughout the vocal tract. [Grace 207, p. 9] If one is completely relaxed while humming a continuous tone it should be possible to drop the jaw slowly until the mouth is wide open without in any way disturbing the quality of resonance that occurred during the hum. This is offered as a test of correct humming and correct resonance. [Hill 272, p. 27] Hence the singing student is advised to practice humming as frequently as possible. [PMlip 446, p. 38] Mowe maintains that the correct hum is one of the most valuable of exercises and guides to correct tone. [405, p. 12] Fory finds it "an invaluable teaching device." [188] Lily Pons, famous soprano, states that she sings many scales and vocalises with closed lips or humming. **TMs exercise is very helpful to me." [450]
SUMMARY AND INTERPRETATION
THEORETICAL CONSIDERATIONS
In the various descriptions of resonance given it is apparent that the processes of phonation and resonation are related to each other as cause and tEecL The line of demarcation between the two is not clearly made. Hence it is difficult to determine which teaching techniques are purely phonatory and which pertain to resonance alone. No one has as yet succeeded in completely damping out the resonance factor during voice production. Therefore, the relative importance of phonation and resonation in the act of singing cannot be determined. In all, 262 concepts of resonance |
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