The _let go_ is in reality more a
negative than a positive condition, and virtually means, when you lift and
expand, do not locally grip, harden, or set any muscle of the body, throat,
or face.
The _lift, expand, and let go_ must be in proportion to the pitch and
power of the tone. This, if done properly, will result in automatic form
and adjustment, the removal of all restraint, and open, free throat and
voice. This is the only way in which it is possible to truly vitalize, to
arouse the physical, mental and emotional powers of the singer. This is the
only way in which it is possible to put yourself and keep yourself upon a
level with the tone--upon a level, physically, mentally and emotionally.
This is in truth and in fact the singer's true position and true condition;
this is in truth and in fact self-assertion; and this, and this only, makes
it possible to easily and naturally _arouse_ "the singer's sensation,"
the true sensation of artistic singing.
We will take for our first study a simple arpeggio, using the syllables Ya
ha, thus:
[Illustration: FIRST STUDY. Ya, ha....]
We use Ya on the first tone, because when sung freely it helps to place the
tone well forward. Ya is pronounced as the German _Ja_. We use ha on
all other tones of this study for the reason that it is the natural
staccato of the voice. Think it and sing it "in glossic" or phonetically,
thus: hA, very little h but full, inflated, expanded A. A full explanation
for the use of Ya and ha may be found in "Position and Action in Singing,"
page 117.
Pages:
27
28
29
30
31
32
33
34
35
36
37
38
39
40
41
42
43
44
45
46
47
48
49
50
51