Exercises For Lesson 8
As you should already know by now, the attack of the tone should come from and by means of the tongue alone. This is the best manner of attacking a tone because it gives the noblest quality, the greatest volume and the utmost ease. Because a few people possess this attack by Nature, unknown to themselves, they have risen to phenomenal success as orators and singers. You will be taught this most valuable attack, which, when you develop it to the utmost, will place you where the uttermost success is not only possible, but assured. You will be in a better position than those artists who have the “trick” by Nature, yet, because they do not know the real source of their voice, are in constant fear of losing it. But you will know! You will stand on the solid ground of fact. Hence, you will have no fear of losing the voice, but, on the contrary, will be sure that your voice will daily become better and that you will retain this voice to the end of your days!
Of course, this development takes time; comparatively little time for some, more for others. In the meantime you must speak and sing. To help you over the period of developing the highest form of attack, you are given two easily learned forms of attack, which will immediately give you command over all the voice which you now have. These two forms of attack alone are valuable to learn, and the main thing is, that the most valuable thing of all, which is yet to come, is a free gift.
The art of attacking the tone with the two forms that you are now learning has been the stock in trade of the foremost voice teachers only and even they could not define and describe them as clearly and precisely and YOU will know and be able to teach them to yourself after having studied these lessons. Even the foremost teachers could not be clear enough on the subject of these attacks, because they had not studied anatomy with the minute care imperatively demanded by such a branch of knowledge.
A very important matter that will be much appreciated by singers, will be to show them the use of the registers and give them absolute command over this mush disputed and still more misunderstood difficulty. They will get such an insight into the matter of registers, special effects, etc., that their minds will be henceforth at rest. With this lesson, also, the singers can start the regular course of singing.
They should confine themselves, however, to a few tones each day, and for a while should not exceed the compass of the notes between E, first line, and F, on the fifth line, for soprano or tenor; or A, below, to E flat, in the fourth space, for alto or baritone. The basso may go as low as is easy for him. He should gradually work up to E flat. More precise instructions will follow. Never start on your lowest note, but also never on the highest. Do not try to reach the extremes either way; that is merely silly. Always start in the middle of your range which is B flat, third line for all high voices, and F first space for all low voices. From these notes you can work up to the point where the tones are harder to get. Be satisfied with this for a while. Strive to make each tone easier, larger and clearer.
The speaker must not neglect this lesson. It is just as important to him as the singer. There is not a passage in all these lessons which ought not to be familiar to any speaker. Special lessons will be given for speakers, as well as for singers, but both should study the essential parts, because both speakers and singers are identically the same vocal attack, and many other actions are the same for both of them. These lessons are also especially beneficial for all who suffer from voice defects. They will gradually arrive at the state of mind when they understand why their voices are defective, and then they are ready for the work which will deal directly with the defects, and which will make their voices as good as the best.
The Glottis Attack
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