Vocal Technic 00 Fox A

8/19/2019 Vocal Technic 00 Fox A

1/96

Vocal

Technic

BY

ANCELLA

M.

FOX

(MRS. O.

L.

FOX)

%ffi

$2.00

NET

*

GAMBLE

HINGED

MUSIC

CO.

PUBLISHERS

CHICAGO


2/96

HAROLD

B. LEE

LIBRARY

BRiGHAM

YOUNG

DIVERSITY

Pi3OV0, UTAH


3/96

Digitized

by

the Internet

Archive

in 2012 with

funding

from

Brigham

Young

University

http://archive.org/details/vocaltechnicOOfoxa


4/96


5/96

US'

V

U3y

—

m.

m

^

(MRS.O.L.FOX)

Published

by

Gamble Hinged

Music

Co.

Chicago


6/96

To

my

Pupils,

whose

loyalty

has

been

an

inspiration

HAROLD

B.

LEE

LIBRARY

8RIQHAM YOUNG

UNIVERSITY

PROVO, UTAH


7/96

PREFACE

3

In

publishing*

these exercises I 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.

EXPLANATIONS

AND

SUGGESTIONS

An o

placed

over

a

note

is a sign

for opening*

the tone.

M

is

the

sig-n

for

humming*.

It

gives

location

to the

tone

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

mel-

low

quality so desirable.

The

first

principle

of g*ood

singing* is

throat re-

laxation.

To

g*ain this

the mind must be

di-

rected

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

to

be

used

judiciously.

The simple

gripping*

of

the

diaphram

gives

ex-

cellent

support

to the

upper

voice arid

little

is

needed

in

the medium

A

proper

control of the

diaphram

prevents forc-

ing*,

and

is the

whole

secret

of g*ood breathing-

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

.

All

tones

have

a

curve

from the preceding*

tone

in

passing* up

or down the

scale.

In singing* the

octaves,the pupil should

haveathought

of distance.

The upper

note

is

to travel,

and

if

it

reaches its 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

singing

is

the ease of it.

Scale

practice is the

backbone

of vocalization. It

blends the

registers,gives

flexibility

and

perfect

poise.

Scales

should never

be

practised

with

full voice.

A g*ood

medium is

better

and at

times

a

sotto

voce

I

have

g*iven

metronome

marks,

which

are never

slow. My

experience

has taug*ht me

that

scales

must

be

practised with some

degree

of

velocity to

be

of

value in acquiring* flex-

ibility.

Always

sing*

legato

;

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.

When

grouped

and sung*

in

perfect

tempoythe

~the scale

becomes

even.

I

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.

Extend

th

e

rflngr

ft

jwhile_the

v

oice

is

young*.

Ag*e

fills

and matures

quality, and

the

voice is

not eas-

ily extended

after

having* matured.

Breadth

of

tone is

never

g*ained

by

force.

Pushing*

the

voice ruins it.

Never

sing*

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 rounded-

not 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

a

e*and^o

,,

have

most

value

in voice placing*—

a

o for

thin

quality,

and e for

that

which

is

sombre and

throaty. For contralto

and male

voices

a

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.

• ••••••

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

exer-

cises

to

be

given

by the teacher

for

the par-

ticular

needs of

each

pupil.

ANCELLA

M.

FOX.

200-83*-

G.H.M.Co.


8/96

Exercises for

Placing

the

Voice

For alto voice

transpose

to

A

below.

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1912

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International

copyright

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17

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200-83-21

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26/96

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47/96

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Vocal Technic 00 Fox A

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