Voice Excercise 15
Besides developing breath control and agility, Exercise 15 serves to make the more advanced student feel that he is working on something difficult enough to be worth doing. As breath control develops, the exercise is sung twice on one breath. This is difficult for a majority of vocalists, and shows definite attainment in breath control and vocal agility.
Since the average beginner has trouble to keep in mind the various do’s and don’ts, I suggest that the following rules be copied and placed where the student can see them during his practice periods:
1. Inhale deep breath through the nose, and control its exhalation with the diaphragm.
2. Think of the tone as originating at the juncture of the nose and forehead, and always direct the column of breath to that point.
3. Relax the jaw. If you have a tendency to close the mouth, be especially sure to drop the jaw on descending tones.
4. Never attack any tone "low," regardless of its pitch. Always bear in mind that point and head tone focus are present in every tone, not merely the high notes!
5. Beauty of tone, as well as volume, comes only from the correct use of the resonance chambers. The student’s consciousness must be directed to the breathing, and to resonance at all times. These two functions can, and must, be consciously controlled until they become automatic.
6. Do not irritate the throat with frequent clearing and "scraping." If there is huskiness or phlegm, sing above it and it will disappear. Such condition, in an otherwise healthy throat, is usually merely a subconscious form of nervousness, which is psychological instead of physical. If humored it will result in actual throat irritation; if ignored it will disappear as suddenly as it appeared. Usually a pupil is advised, when such condition manifests itself, to "sing above it." This means to think the tone and feel the tone in the upper part of the head and face, not below the teeth.
On the other hand, if the throat is actually inflamed or congested, as with cold, tonsillitis, or other physical distress, the student should not vocalize at all until a normal condition has been restored.
7. Never scoop up to a note. Think high placement and then add the breath support, bringing the tone actually down to the pitch, not pulling it up.