“Every person with a superior voice is a capitalist. There is always a ready market for this talent, be it as a speaker or singer”
– Eugene Feuchtinger
These illustrations are for the most part rare and valuable. They cost a very great deal of money, time, research and experience. The illustration, Fig 30 (below), which goes with this lesson is the first and only illustration of a complete vocal organ in existence. The illustrations contained in books on anatomy, physiology and medicine do not contain anything of practical value to the seeker after voice culture. At best they are only fragmentary and detached. The illustrations given in those books only show different parts of the vocal organ. No attempt has apparently ever been made to show the entire vocal organ as it exists in the human body. Nowhere can be found the complete material relating to the voice as you are getting in these lessons.
The fact of the matter is, if you study these lessons VERY carefully, you will know more about the anatomy of the throat than even specialists. If you ever intend to study medicine or specialize on the throat, these lessons will make you a stronger throat specialist than any existing. For your own hygienic betterment, for a prolongation of health and life, these lessons will be worth many times the price you pay. The throat is the door to the body. If the door is well guarded, thieves cannot enter. Your throat will become strong and will resist disease through practicing the exercises contained in these lessons. Therefore, do not neglect the study for a single day. Get the habit of practicing a while EACH day, if it is only for ten minutes. That is the SURE way to success.
The discovery in these lessons will lift vocal study from a state of guesswork into an exact science. These explanations are written for the purpose of explaining and proving the discovery. To do this, it has been necessary to state technical facts, to separate and show the specific action and purpose of the different muscles, cartilages and bones that make up the vocal organism. In doing this I have, as far as possible, avoided technical expressions, so that the student might the easier understand at a first reading what experts and physiologist spent a lifetime in acquiring.
To state that such and such are so, even if true, is not sufficient, for it does not prove the case. In these lessons these claims are proven beyond contradiction; showing the true cause of strong and weak, of perfect and imperfect voices; locating the interference that limits the power and beauty of the human voice. This discovery has been subjected to every law of physics, anatomy and mechanics, and have been proven to be mathematically correct. Furthermore, it has been proven to be infallible in practice.
The Complete Vocal Mechanism: Figure 30
Before a defect can be remedied, we must first find it. In the case of the human voice, both the defect and the remedy have been found, and now every voice may be developed to the utmost. These lessons reveal the defect in such a way that all who read with care will recognize it. While every student should read this and become acquainted with his/her own vocal organism and its defects, the author does not claim that from merely reading it the voice can be corrected, but the reading is a necessary part, for it leads to understanding, and this again leads to the conviction that NOW you have the key to great vocal success and this will stimulate you in your daily efforts.
The contrary proof, explaining that if the vocal organ does not operate as taught in these lessons, then the muscles which should NOT operate during voice, especially the jaw muscles, interfere with the true vocal muscles, and huskiness, shrill and hard voices result.
Stammering, stuttering, etc. caused by these defects.
Muscles which interfere with or prevent the true vocal effort.
The subject treated, illustrated and explained in the lesson on vocal physiology are as follows:
Right and wrong muscles.
The great power of the wrong muscles.
Why the wrong muscles overpower the right (vocal) muscles.
The great temptation to use the wrong muscles.
Why tones are felt in the chest, face and head.
The upward or downward-moving larynx is wrong.
A stiff tongue and a stiff jaw are also wrong.
Instructions for developing an absolutely correct method of breathing for singers, speakers, athletes and everybody else:
The abdominal muscles.
The chest muscles.
Relaxed position of the chest.
Muscle control in general.
Nervousness caused by poor breathing.
Breath with sound.
The nose inhaling.
Tone with isolated abdominal muscle.
Loss of breath.
Stammering and breathing.
The Laws Of Physics And Sound.
Intensity of sound.
Velocity of sound waves.
Definitions of pitch.
Vibrations of strings.
Laws of vibrating strings.
Such is the scientific part of this course; don’t be afraid that it will be tedious or dry. Of course, these subjects are of necessity somewhat technical, but no more so than the description of any serviceable and valuable machine. All these parts you should know to be able to practice with intelligence.
In studying these technical instructions, just say to yourself: “I am going to buy a ‘Vocal Organ,’ and I want the best that can be had; and I am not going to be buncoed. I am going to learn all about it and prove the facts to myself. After that I want a pair of the most perfect lungs on the market, and all that goes with them. I need those two things, the ‘Voice’ and the ‘Lungs,’ all my life, every day and all day long. My success in life, in business and society depends on these things. My health, my pleasure and my happiness are based fundamentally on them.” Think that way and you will find pleasure and instruction in the scientific aspect of your lessons.
The aim of these lessons is not only to give you a fine voice, but to prove to you all along why every exercise must be just as it is described and why this is the only way to develop your voice to the fullest extent. Please know every step and realize its importance. All old methods will be swept away, because they are useless.