Words And Tone Should Agree
While singing, words and tone should agree. What does that mean, asks
one. It can be well stated when we consider how they do not agree. If
one sings "Sing ye aloud, with gladness," with a sombre tone the words
and tone belie each other. This result invariably follows the attempt to
cultivate the voice on vowels only, or on one single vowel. He who
watches tone while cultivating his voice reaches this result. We express
our thought while singing in words. Words are made by the organs of
speech, the chief of which are the tongue and lips. The tone receives
its expression from the pharyngeal cavity. If tone and words agree, the
tongue, lips and pharynx will work harmoniously in accord. It is when
one or the other does not work correctly that one belies the other.
Training of the organs of speech has been written upon so extensively
that for now more need not be said. Suffice it to say, that the organs
of speech can be trained upon a few enunciatory syllables in a short
time, so that every word can be distinctly understood. There is no
excuse whatever for our singers remaining so indistinct in their
singing. The way of getting the tone to agree with the words, is what
may be considered now. As said above, tone is regulated, so far as
quality goes, in the pharynx. That organ can be put into working order
and kept so through the expression of the face. The same thought is
expressed on the throat which is expressed on the face. The same set of
nerves operates the two organs. To show what is meant, recall that if
you hear someone utter a cry, you know from its sound whether it is a
cry of fright, of happiness, of fear, of greeting, of anger, or whatever
it may be. The position and shape of the pharynx has made the cry what
it is. One standing near the person would see on his face the look which
corresponds with the cry uttered. In this case the word and the tone
correspond. It is not easy to reach the pharynx for voice culture,
except through the face. It can be reached in that way. The tone for
general use in voice culture should be the bright one. Then the
expression during vocal practice should be a bright one. All vocal
exercises should be, on this account, practised with the face pleasant
and expressing happiness. This fact led many teachers, years ago, to
have their pupils smile while singing. It led to most ludicrous results.
The teachers said, "Draw back the corners of the mouth, as if smiling."
Very well. That may be good, but it has no particular beneficial
influence on the pharynx, or upon the tone produced. The mouth is not
the seat of expression in the face. Not that there is no expression to
the mouth, but its changes are limited. The eyes are much more
thoroughly the seat of expression, and through them the pharynx can be
reached. Let the eyes smile. Let the whole face take position as if one
saw something irresistibly funny, at which he must laugh. Practice with
the eyes in this way will brighten the whole voice. It will relieve
strain upon all the facial muscles and will render the organs of speech
more pliable, too. Having obtained such control of the eyes that one
expression can be placed in them, the student can attempt other
desirable expressions. He will find that whatever is used in and about
the eyes will affect the kind and quality of tone. He may arouse his
interest in some particular thought and hold that in mind as he sings;
the voice will then have warmth of tone and will readily receive
meanings. He may express varying degrees of surprise in the face and he
will find varying degrees, to correspond, of fulness and roundness go
into the voice. The use of expression in the face as a means of giving
character and quality to tone opens a field of experiment and experience
which will lead any teacher to practical and beneficial result. It is
not a new idea. Salvini, the great actor, has given some very useful
thought on that subject. Little of such instruction, important as it is,
has gone into print. Yet it is so important.