CHAPTER X

SECOND PRINCIPLE

1. The full extension of the natural range of the voice is produced only by using the _minimum tension_ of the vocal cords and the _minimum breath_ required for each tone. This establishes a correct mechanism of voice production.

2. The laryngeal sounds must be transmitted to the mouth _free_ of any interference; _freedom_ is the fundamental pillar of voice production.

When the mechanism of voice production enters into action, the breathing apparatus, by means of its respiratory muscles, pushes the air toward the vocal cords and puts them in vibration. The vocal cords, which by a coördinate function of the muscles and cartilages of the larynx come together, because of their elasticity adapt themselves to an indefinite number of adjustments and give origin to a series of different tones which constitute the range of the voice.

The embryonic sound, resulting from the vibrations given by the _minimum_ of _tension_ of the vocal cords, put in vibration by the _minimum_ of _breath_, constitutes the lowest tone of the natural range of the voice as produced by a correct mechanism. This tone is very feeble and is of no practical use in singing, but serves to great advantage in the mechanism of voice production, as it establishes the deepest point of support for the consecutive tones of the range, like the cornerstone in the foundation of a building.

By comparing the upbuild of the natural range of the voice with the construction of a house, we see a great similarity in the structure of both, which tends to show how important is the low section of the vocal range in the production of the voice.

The foundation of a building is the underground section which readily escapes observation; yet it is as important as the section above ground, if not more so, since it constitutes the real support of the structure, and the greater its depth, the higher the building.

In the upbuild of the voice there is a series of tones which are of the lowest pitch, and of limited sounding power; they nevertheless form the cornerstone in the formation of the voice. These tones which carry the low part of the compass of the voice to its physiological limit can be formed only by the minimum of breath and the minimum of tension of the vocal cords; thus they create a natural and easy mechanism of voice production by establishing a preliminary adjustment of the vocal cords which will rule throughout the entire range of the voice.

When these preliminary low and feeble sounds are gradually succeeded by a series of tones higher in pitch and louder, the voice production has the advantage of finding itself placed on a correct basis which will remain throughout unless the vocal organs become affected by artificial influences capable of changing their original adjustments.

With this mechanism the voice acquires a larger range, because according to the laws of acoustics the larger the size of the instrument, the less air is used in producing sounds, and the lower is the pitch of the resulting tone. By using little breath, therefore; and by keeping the vocal organs in complete relaxation, thereby enlarging the vocal instrument to the utmost, a range of lower extension is created. This is the lowest physiological limit of the natural range of the voice.

Singers who carelessly cultivate the habit of forcing their tone production from the beginning of their training acquire a mechanism which shortens the range of their voices, besides depriving them of the invaluable support of the lower part of their natural range, which is the solid foundation in the upbuild of the singing voice. Their voices, consequently, have no more resistance than houses built on sand.

The natural range of the voice, therefore, constitutes a number of progressive sounds, extending from the lowest to the highest pitch of the voice, when produced by a correct vocal mechanism. To guarantee these sounds a correct formation, it is imperative that the tension of the vocal cords during their various adjustments, and the amount of breath required for producing them, work in harmonious accord. By complying with these rules the resulting mechanism of voice production is controlled by the minimum tension of the vocal cords and the minimum breath released by the lungs.

It is also obvious that the vocal cords, in increasing their tension and shortening their length for producing higher pitches, come under a physiological control which guarantees that their adjustments are made with almost unnoticeably increased power, thus avoiding forced and sharp singing. Therefore, to produce correct voice mechanism, both the moving and producing power must be governed in their coöperative work by the fundamental law—the minimum of energy for the maximum of efficiency, since voices based on this law are free from effort, and nearest to perfection.

Another important factor in voice production is the necessity for the tones to reach the mouth unhampered, where they are to be transformed into full voice. The laryngeal sounds must travel freely through the larynx and pharynx with their original number of vibrations, so that they may get the advantage of a resonance proportional to the entire volume of their vibrations.

This is of prime importance, for if the laryngeal vibrations are hindered from freely taking on the resonating power, they produce a voice of poor quality, thin in volume and feeble.

The causes for this interference in the delivery of the voice, though most serious, have never been given due importance. The contraction of the larynx and pharynx, the stiffening of the tongue and palate, and foremost the bending of the epiglottis over the opening of the larynx are the aforementioned causes which hinder the vibrations from coming forward.

As a result of these interferences, the section of the vocal apparatus extending from the trachea to the lips is reduced in size, becoming narrower and causing the most appalling defect in voice production.

According to the rules of acoustics as applied to resonating tubes, the pitch of the tone becomes higher as the size of the tube is reduced in width. Therefore in the case of the vocal apparatus—the most perfect sounding tube because of its power of elasticity—its exaggerated contraction brings about an alteration in the pitch of the tone. The elastic property of the vocal apparatus which enables it to establish a perfect control of its dimensions should be utilized in a normal way during the adjustments of the vocal organs in producing the different tones of the range, avoiding any exaggeration in the rhythm of the vocal mechanism. As a matter of fact the adaptation of the vocal apparatus should be so gradual as to be almost involuntary on the part of the singer. The great prima donna, Emmy Destinn, questioned by the author years ago about her sensations while singing, said: “When I sing I feel as if I have no throat.” This statement proclaims the most wonderful and instructive truth about voice production.

An easy mechanism of voice production enables the larynx to produce free and full tones without strain, and allows it to rely on the constant coöperative assistance of the moving power which can supply any amount of breath necessary for producing and carrying the sounding waves to the resonating power.

Lowering the epiglottis over the opening of the larynx, however, and stiffening and contracting the tongue and palate, which bring about a partial obstruction of the opening of the pharynx, constitute such marked obstacles to the freedom of the tone that they must not be overlooked.

Singing teachers and experts on voice have neglected to illustrate the correct functioning of these organs in voice production, due perhaps to the fact that through a misconception of the vocal mechanism the breathing apparatus and vocal cords have almost monopolized their entire attention, much to the detriment of voice culture.

Researches and publications dealing with the breath and the function of the vocal cords are countless; yet in spite of all the elaborated discussions and suggestions for methods of breathing, diaphragm development, and tone production, bad singing prevails at present more than in any other epoch. It now becomes imperative to establish the exact status of the rôles played by these organs in the mechanism of the voice, so that they may be placed at their proper valuation in voice culture.

The epiglottis is a flexible cartilage which, by shutting the opening of the larynx, protects the vocal organs from such foreign bodies as food, or drink, which would otherwise easily be carried down into the breathing apparatus during the inspiration. In the process of voice production it has the important function of keeping the laryngeal cavity open for the free passage of the sounds on their way from the vocal cords to the mouth.

Picturing the epiglottis as a door for the larynx, its sole function is to remain open during the respiratory and vocal process, and to close during the passage of food and drink, or, in other words, during the act of swallowing.

For our purpose, however, it is important to illustrate its function only in relation to the voice mechanism, in which its position, whether erect or inclined toward the opening of the larynx, establishes a difference of result in the voice produced which is worthy of the most careful consideration.

When the epiglottis stands erect (Fig. 9), or bends toward the larynx (Fig. 10), being attached to the base of the tongue, it is closely connected with all its movements, and their relationship, in voice production, of decisive consequence. In swallowing, the epiglottis must bend toward the larynx, thus closing its opening and preventing food from getting into the breathing apparatus. The tongue helps this movement by contracting its base and pushing the epiglottis backward and downward. When the act of swallowing is over, both organs resume their former position, the epiglottis standing erect, and the tongue lying relaxed on the floor of the mouth (Fig. 10). This position is the natural one for singing; but things are merely reversed by a defective voice production, which substitutes the mechanism of swallowing for that of singing. This erroneous function cannot be the physiological one, as it is evident that in order to have the full number of vibrations carried to the resonating power a large opening of the throat—possibly the largest—must be formed.

The interference of these two organs is so commonplace that very few singers escape its influence. In most cases the tongue—the very worst enemy of singers—is actually the responsible factor, because by its contraction it exerts such pressure on the epiglottis that the latter is forced down toward the opening of the larynx. Therefore the narrow space existing between the epiglottis and the pharynx becomes still narrower, thus choking and preventing a large number of vibrations from reaching the resonance chambers. This condition starts the original disorder, which brings about the disequilibrium in the mechanism of voice production.

It seems that an instinctive influence—the result of a nervous reaction or misinterpretation of the mechanism of voice production—prompts singers to barricade the back of their mouth when they begin to sing. They start by contracting their laryngeal organs as if in self-defense against an imaginary enemy—the sound—holding also all parts of their body in a tense and rigid position.

The vocal cords, thus reduced in size by the contraction of the larynx, produce forced sounds which are greatly hampered from reaching the chambers of resonance by the lowering of the epiglottis, and by the contraction of the base of the tongue. Thus, most of the sounding waves remain confined to the larynx alone for their resonance. This implies first that the voice is centered out of its natural focus, the mouth, and is therefore misplaced; also that the vibrations are prevented from getting their natural expansion and from reaching the resonance chambers.

After this disorder takes place, it consequently follows that the pressure of the breathing apparatus, which acts under the same nervous influence and erroneous conception as the mechanism of singing, becomes more powerful. Then the vocal struggle commences.

The larynx, reacting to the violent blast of breath, increases its tension, and produces a voice decidedly sharp and thin. The singer, worried about his deficient vocal results, tries to improve them by increasing the breath. It is like adding more fuel to a fire that is already smothered by too much of it. The more breath the singer adds, the tighter the vocal organs become; the more his voice fails to show results, the more convinced he becomes that he is not giving enough breath. Thus a vicious circle is established.

Then all the resources of elaborated methods of breathing and diaphragm support, and the most strenuous laryngeal adjustments are put into action. The lungs become a blowing machine, and the vocal cords, under the violent blast of air, hardly succeed in controlling the rhythm of their vibrations. The congestion of the singer’s face bears evidence of the painful efforts and the struggle he is making. The muscles, blood-vessels, and nerves of his neck stand out in ugly prominence, making the performance more painful. As a climax to these ineffectual efforts, the big and anticipated effect bursts out and is usually embodied in a strangled whistle very similar to that of a rusty locomotive. Our Latin ancestors would say: “Parturiunt montes ridiculus mus nascitur!” (“Mountains burst and a ridiculous mouse is born.”)

This is the average spectacle which audiences are called upon to witness in the singing of to-day, when, because of these false methods, voices fail by the hundreds, and singers whose natural gifts would entitle them to a long and glorious career are compelled to abandon singing after a few years of painful struggle and devote themselves, in most cases, to the profession of teaching.

Yet to say that correct singing, capable of carrying out beautifully all human sentiments in spontaneous form, is a very simple function, is to state a physiological truth. It is certain that if nature were left alone to govern the mechanism of voice by her physiological rules, without the profane interference of incongruous theories and methods, a natural form of singing based on scientific truths would now exist, and would be the real guarantee for correct voice culture. Students must remember that every error at the beginning of their training becomes a permanent habit in the future singing.

When the tone, by its complete freedom, succeeds in getting into the domain of the resonating power, another important factor completes its full formation. All of its characteristics—volume, quality, loudness, etc.—which are connected with the property of resonance, lend to the resulting voice their enriching power. We will treat this great advantage later, in a special chapter, devoted to resonance and its most important contributions to voice production.

An original view also about the rule played by the breath in voice culture, which is a conception almost entirely in opposition to most theories about the mission of the breath in singing, will be treated at length in the following chapter.

It must be stated, however, that the freedom of the tone represents the fundamental pillar on which the correct mechanism of voice production is built.