Vocal Technic

BY

ANCELLA
(MRS. O.

L.

M.

FOX

FOX)

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GAMBLE HINGED MUSIC

PUBLISHERS
CHICAGO

CO.

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'

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

PREFACE

do so at the earnest solicitation of my pupils who have become teachers.

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.
In publishing* these exercises

EXPLANATIONS AND SUGGESTIONS

An"o" placed over a

note

is

of velocity to be of value in acquiring* flex-

a sign for opening*

the tone.

is

the

ibility.

sig-n for

humming*.

It

gives location

and places it near the enunciating*

org*ans (lips and tongue).
All voices must be focused for timbre. Care
should be taken however, not to lose the mellow quality so desirable.
to the tone

The

first principle of g*ood singing* is throat re-

To

mind must be directed 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
laxation.

g*ain this the

to be

used judiciously.
The simple gripping* of the diaphram gives excellent support to the upper voice arid little

needed in the "medium"

proper control of the diaphram prevents forcing*, and is the whole secret of g*ood breathingis

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
.

have a curve from the preceding* tone

passing* up or down the scale.

All tones

in

In singing* the octaves,the pupil should haveathought

of distance.

reaches

its

The upper note is to travel, and if it

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
Scale practice

singing" is the ease of

is

it.

the backbone of vocalization.

Always

with accent,and in perfect tempo.

Divide all long* scale-passag*es into groups; do not
sing* as a whole, otherwise the top and bottom g-et

alHhe

attention,to the negiect of the center.

and sung* in perfect tempoythe

~the scale becomes even.
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.

Ag*e
Extend the rflngr ftjwhile_the voice is young*.

and matures quality, and the voice is not easily extended after having* matured.
Breadth of tone is never g*ained by force. Pushing*
fills

the voice ruins

poise.

Scales should never be practised with full voice.

A g*ood "medium"is better and at times a sotto

voce
have g*iven metronome marks, which are never
slow. My experience has taug*ht me that
scales must be practised with some degree

it.

a head tone without a rigid diaphragm.

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 roundednot over- wide in the "medium" dropping* the jaw
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.
Stand still Repose adds to personal attraction
and should be cultivated.

Never

sing*

It

When grouped

blends the registers,gives flexibility and perfect

sing* legato

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 exercises to be given by the teacher for the particular needs of each pupil.

ANCELLA
200-83*-

G.H.M.Co.

M. FOX.

For alto

Exercises for Placing the Voice

voice transpose to A below.

stands for humming, with closed lips

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200-83-21

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7

m^7

m^J7

48.
In keys.

One breath

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Scales,
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This exercise

also used in all

is

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Largo

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No.3 (p. 68)
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