To
hesitate compels local effort. To hurry disturbs all true conditions. This
is a very valuable exercise, if understood.
[Illustration: SEVENTH STUDY. Ah....]
This study is virtually the same as the sixth, except that the voice is not
suspended or arrested between the first and second tones. This exercise
must be studied with the same action and the same impulse as the sixth
study. Some singers can get placing and reaction better on this study than
on the sixth.
[Illustration: EIGHTH STUDY. Ah....]
Find the level of the first tone as suggested, using hands and body; move
down, hands and body going with the tone, while singing the first three
notes of this exercise; then, without stopping or hesitating, reverse the
action or the movement, by lifting hands and body, and opening wide by
dropping the lower jaw, while singing the last three notes. Of course the
voice must sing from the highest to the lowest note with a continuous
legato flow. The movement of the body down with the first three notes and
the reverse action, moving up and out on the last three, must be smooth and
continuous. If this is done properly the reverse action will give a
wonderful sensation of freedom, openness, and the power of low added
resonance. It demonstrates forcibly what is meant by placing up and
building down.
This is the great idea or the great movement for developing the low tones
in all voices. When the low tones are thus developed by expansion, but
without effort, the same idea of freedom and low resonance can be carried
into the high tones.
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