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TRAINING THE SINGING VOICE |
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forma: collapse under the stretching tensions of the latter, thus causing wobbly points in the vocal range, pitch fluttering or breaks. To offset such breads it is necessary to equalize the strength and tension of the weaker muscles so that a condition of perfect equilibrium or balanced tension may be reached between antagonistic muscular actions. The function of each set of phonatory muscles is amenable to training and must be clearly defined so that one function never encroaches upon the regulatory action of neighboring muscles, causing the condition called mixed registration. [Stanley 578]
METHOBOLOGICAL CONSIDERATIONS
The suggested use of psychological or indirect methods of cultivating Yocal range introduces interesting possibilities of overcoming the mental hazards and tensions that usually accompany the treatment of registers and the singing of high pitches. An attempt is made to correlate the pitch range of the singing voice with the inflectional track of the speaking voice. In this respect, it is claimed that the activating principle of the singing voice is closely related to the self-expressional impulses o£ the individual. Thus, the impulse to express always awakens automatic vocal coordinations that provide appropriate pitch movements or inflections suited to the meaning or interpretation of the idea expressed, whether in singing or speaking. These complex, spontaneous coordinations of vocal utterance should not be disturbed by the isolation of pitch factors hi training the singer's voice, since pitch control is imbedded In the interpretational pattern of the song. High tones would then be regarded merely as higher reaches of the speaking voice and practiced as glissando iniections of the latter. The teaching techniques that deal with the sectional and directional treatment of range, scale work and register Maiding are self-explanatory and require no further comment.
In conclusion, the voice teacher is reminded that the attainment of unusually high pitches and the abnormal stretching of the student's vocal compass can become a studio fetish rather than a constructive principle of voice building. The student's singing range should be utilized at the outset within Ms own easy capabilities for wholesome and comfortable musical performance. It is claimed by some authors that the over-zealous striving to stretch every vocal range to arbitrary limits can lead to chronic vocal fatigue and defeat the entire voice training program. In other words, there is little virtue in the fanatical pursuit of operatic gymnastics that seek to exploit the unusual rather than the musically beautiful ranges of the singing voice. Such music should be avoided, especially by |
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