Vocal Technic

BY

ANCELLA M. FOX
(MRS. O. L. FOX)

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$2.00 NET *

GAMBLE HINGED MUSIC CO.

PUBLISHERS
CHICAGO
 HAROLD B. LEE LIBRARY
BRiGHAM YOUNG DIVERSITY
Pi3OV0, UTAH
 Digitized by the Internet Archive
in 2012 with funding from
Brigham Young University

http://archive.org/details/vocaltechnicOOfoxa
US'

V U3y — m.

m^

(MRS.O.L.FOX)

Published by

Gamble Hinged Music Co.

Chicago
 To my Pupils,
whose loyalty has been an inspiration

HAROLD B. LEE LIBRARY

8RIQHAM YOUNG UNIVERSITY
PROVO, UTAH
 3

PREFACE 3

In publishing* these exercisesdo so at the earnest solicitation of my pupils who have become teachers.
I

They are gTaded and progressive 3 and being* the result of my long* experience as a vocal teacher in the
Chicag*o Musical College,! offer them with confidence.

EXPLANATIONS AND SUGGESTIONS

An"o" placed over a note is a sign for opening* of velocity to be of value in acquiring* flex-
the tone. ibility.

M is the sig-n for humming*. It gives location Always with accent,and in perfect tempo.
sing* legato
;

and places it near the enunciating*

to the tone Divide all long* scale-passag*es into groups; do not
org*ans (lips and tongue). sing* as a whole, otherwise the top and bottom g-et

All voices must be focused for timbre. Care
should be taken however, not to lose the mel-
low quality so desirable.
The first principle of g*ood singing* is throat re-
laxation. To mind must be di-
g*ain this the
rected to the point of delivery— the lips. Much
throat contraction is caused by the false idea
that singing* is a throat action, while it is
really a mouth action, like speaking*.
Too much breath ruins the voice. There is
usually enougti in reserve, and it only needs
alHhe attention,to the negiect of the center.
When grouped and sung* in perfect tempoythe
~the scale becomes even.
I would sug*g*est that the scale be played with the
pupil until some smoothness and rhythmic sense
has been acquired. This is also my rule with the Trill.
Pianissimo tones are not suppressed tones, but singing*
without power. The voice must be well under control
before extreme soft singing* should be attempted.
Extend the rflngr ftjwhile_the voice is young*. Ag*e
and matures quality, and the voice is not eas-
fills

to be
used judiciously. ily extended after having* matured.

The simple gripping* of the diaphram gives ex- Breadth of tone is never g*ained by force. Pushing*
cellent support to the upper voice arid little the voice ruins it.

is needed in the "medium" Never a head tone without a rigid diaphragm.

A proper control of the diaphram prevents forc-
ing*, and is the whole secret of g*ood breathing-
in singing*.
Head tones become small and thin if placed too
hig*h. Consider them as an opening*-out of the
a medium" and as coming* forward and over
All tones have a curve from the preceding* tone
passing* up or down the scale.
In singing* the octaves,the pupil should haveathought
of distance. The upper note is to travel, and if it
reaches its proper destination must do so men-
tally^ well as vocally.
All action of a muscular nature must stop at the
chest— not extend to the throat. Ease in
singing* can only be acquired by physical ease.
The art of
sing*
The position of the mouth is very important.All
stiffness should be avoided. Take the position with
the tone, and not before.
From C to G above, for soprano and tenor {A to E
for alto and baritone) let the mouth be rounded-
. not over- wide in the "medium" dropping* the jaw
in for enlarging* the tone. Passing* above G, the
mouth gradually spreads at the corners, and in
the extreme rang*e becomes very wide.
All vowels should be used in practice, but ae*and^o,,
have most value in voice placing*— a o" for thin
quality, and"e"for that which is sombre and
a
throaty. For contralto and male voices e" is
especially g*ood. This vowel will be sung* with
more ease if the jaw is relaxed or dropped.

••••••
singing" is the ease of it. Stand still Repose adds to personal attraction
.

Scale practice is the backbone of vocalization. It and should be cultivated.

blends the registers,gives flexibility and perfect
poise.
Scales should never be practised with full voice.
A g*ood "medium"is better and at times a sotto
voce
I have g*iven metronome marks, which are never
slow. My experience has taug*ht me that
scales must be practised with some degree
•
These are a few g*eneral, practical rules which,
with the exercises, I trust will be of value to
those seeking* the best results in voice pro -
duction.
Blank pag*es have been added for special exer-
cises to be given by the teacher for the par-
ticular needs of each pupil.

ANCELLA M. FOX.
200-83*- G.H.M.Co.
 Exercises for Placing the Voice
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200-83-21 G.H.M.Co.
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Sevenths
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 29
This exercise is also used in all keys
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200-83-29 G.RTM.Co.
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(M=Hum)
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200-83-30 G.H.M.C0.
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