There is no strength properly
applied in singing except through movement; through correct movement all
the forces which nature has given the singer are indirectly brought into
action; in this way there is constant physical and vocal development.
Every tone sung, as we have learned, is a reinforced sound. There are two
ways of reinforcing tone. First, by muscular tension, muscular contraction,
muscular effort--the wrong way. Second, by vitalized energy, by expansion,
and by added resonance of air in the inflated cavities--the right way. Of
course to produce expansion and inflation, true conditions of form and
adjustment must prevail, through the movements given.
Form has much to do with determining the quality and character of the tone.
Muscular effort, either in placing or reinforcing the tone, results in
muscular contraction, and in most cases in elliptical form of voice, thus:
[drawn horizontal oval] This means depressed soft palate, high larynx,
contraction of the fauces, closed throat, and spread open mouth.
Result--high placing impossible, no low color or reinforcement; in short,
hard muscular tone. The tone may be loud but it cannot be musical.
The true musical form of the voice is elongation, thus: [drawn vertical
oval] This means high placing and low resonance; it means that the tone has
the ring of forward high placing and the reinforcement, color, and beauty
of added low resonance. Elongation is a distinguishing feature of all truly
great voices.
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