—Longfellow, Christus.
The dramatic critic of The London Times once declared that acting2 is nine-tenths voice work. Leaving the message aside, the same may justly be said of public speaking. A rich, correctly-used voice is the greatest physical factor of persuasiveness3 and power, often over-topping the effects of reason.
But a good voice, well handled, is not only an effective possession for the professional speaker, it is a mark of personal culture as well, and even a distinct commercial asset. Gladstone, himself the possessor of a deep, musical voice, has said: "Ninety men in every hundred in the crowded professions will probably never rise above mediocrity because the training of the voice is entirely4 neglected and considered of no importance." These are words worth pondering.
There are three fundamental requisites6 for a good voice:
1. Ease
Signor Bonci of the Metropolitan7 Opera Company says that the secret of good voice is relaxation8; and this is true, for relaxation is the basis of ease. The air waves that produce voice result in a different kind of tone when striking against relaxed muscles than when striking constricted9 muscles. Try this for yourself. Contract the muscles of your face and throat as you do in hate, and flame out "I hate you!" Now relax as you do when thinking gentle, tender thoughts, and say, "I love you." How different the voice sounds.
In practising voice exercises, and in speaking, never force your tones. Ease must be your watchword. The voice is a delicate instrument, and you must not handle it with hammer and tongs10. Don't make your voice go—let it go. Don't work. Let the yoke11 of speech be easy and its burden light.
Your throat should be free from strain during speech, therefore it is necessary to avoid muscular contraction12. The throat must act as a sort of chimney or funnel13 for the voice, hence any unnatural14 constriction15 will not only harm its tones but injure its health.
Nervousness and mental strain are common sources of mouth and throat constriction, so make the battle for poise16 and self-confidence for which we pleaded in the opening chapter.
But how can I relax? you ask. By simply willing to relax. Hold your arm out straight from your shoulder. Now—withdraw all power and let it fall. Practise relaxation of the muscles of the throat by letting your neck and head fall forward. Roll the upper part of your body around, with the waist line acting as a pivot17. Let your head fall and roll around as you shift the torso to different positions. Do not force your head around—simply relax your neck and let gravity pull it around as your body moves.
Again, let your head fall forward on your breast; raise your head, letting your jaw18 hang. Relax until your jaw feels heavy, as though it were a weight hung to your face. Remember, you must relax the jaw to obtain command of it. It must be free and flexible for the moulding of tone, and to let the tone pass out unobstructed.
The lips also must be made flexible, to aid in the moulding of clear and beautiful tones. For flexibility19 of lips repeat the syllables20, mo—me. In saying mo, bring the lips up to resemble the shape of the letter O. In repeating me draw them back as you do in a grin. Repeat this exercise rapidly, giving the lips as much exercise as possible.
Try the following exercise in the same manner:
Mo—E—O—E—OO—Ah.
After this exercise has been mastered, the following will also be found excellent for flexibility of lips:
Memorize these sounds indicated (not the expressions) so that you can repeat them rapidly.
A as in May. E as in Met. U as in Use.
A " Ah. I " Ice. Oi " Oil.
A " At. I " It. u " Our.
A " All. OO " Foot. A " Ah.
E " Eat. OO " Ooze. E " Eat.
All the activity of breathing must be centered, not in the throat, but in the middle of the body—you must breathe from the diaphragm. Note the way you breathe when lying flat on the back, undressed in bed. You will observe that all the activity then centers around the diaphragm. This is the natural and correct method of breathing. By constant watchfulness22 make this your habitual23 manner, for it will enable you to relax more perfectly24 the muscles of the throat.
2. Openness
If the muscles of the throat are constricted, the tone passage partially25 closed, and the mouth kept half-shut, how can you expect the tone to come out bright and clear, or even to come out at all? Sound is a series of waves, and if you make a prison of your mouth, holding the jaws26 and lips rigidly27, it will be very difficult for the tone to squeeze through, and even when it does escape it will lack force and carrying power. Open your mouth wide, relax all the organs of speech, and let the tone flow out easily.
Start to yawn, but instead of yawning, speak while your throat is open. Make this open-feeling habitual when speaking—we say make because it is a matter of resolution and of practise, if your vocal28 organs are healthy. Your tone passages may be partly closed by enlarged tonsils, adenoids, or enlarged turbinate bones of the nose. If so, a skilled physician should be consulted.
The nose is an important tone passage and should be kept open and free for perfect tones. What we call "talking through the nose" is not talking through the nose, as you can easily demonstrate by holding your nose as you talk. If you are bothered with nasal tones caused by growths or swellings in the nasal passages, a slight, painless operation will remove the obstruction29. This is quite important, aside from voice, for the general health will be much lowered if the lungs are continually starved for air.
The final fundamental requisite for good voice is
3. Forwardness
A voice that is pitched back in the throat is dark, sombre, and unattractive. The tone must be pitched forward, but do not force it forward. You will recall that our first principle was ease. Think the tone forward and out. Believe it is going forward, and allow it to flow easily. You can tell whether you are placing your tone forward or not by inhaling30 a deep breath and singing ah with the mouth wide open, trying to feel the little delicate sound waves strike the bony arch of the mouth just above the front teeth. The sensation is so slight that you will probably not be able to detect it at once, but persevere31 in your practise, always thinking the tone forward, and you will be rewarded by feeling your voice strike the roof of your mouth. A correct forward-placing of the tone will do away with the dark, throaty tones that are so unpleasant, inefficient32, and harmful to the throat.
Close the lips, humming ng, im, or an. Think the tone forward. Do you feel it strike the lips?
Hold the palm of your hand in front of your face and say vigorously crash, dash, whirl, buzz. Can you feel the forward tones strike against your hand? Practise until you can. Remember, the only way to get your voice forward is to put it forward.
How to Develop the Carrying Power of the Voice
It is not necessary to speak loudly in order to be heard at a distance. It is necessary only to speak correctly. Edith Wynne Matthison's voice will carry in a whisper throughout a large theater. A paper rustling33 on the stage of a large auditorium34 can be heard distinctly in the furthermost seat in the gallery. If you will only use your voice correctly, you will not have much difficulty in being heard. Of course it is always well to address your speech to your furthest auditors35; if they get it, those nearer will have no trouble, but aside from this obvious suggestion, you must observe these laws of voice production:
Remember to apply the principles of ease, openness and forwardness—they are the prime factors in enabling your voice to be heard at a distance.
Do not gaze at the floor as you talk. This habit not only gives the speaker an amateurish36 appearance but if the head is hung forward the voice will be directed towards the ground instead of floating out over the audience.
Voice is a series of air vibrations37. To strengthen it two things are necessary: more air or breath, and more vibration38.
Breath is the very basis of voice. As a bullet with little powder behind it will not have force and carrying power, so the voice that has little breath behind it will be weak. Not only will deep breathing—breathing from the diaphragm—give the voice a better support, but it will give it a stronger resonance39 by improving the general health.
Usually, ill health means a weak voice, while abundant physical vitality40 is shown through a strong, vibrant41 voice. Therefore anything that improves the general vitality is an excellent voice strengthener, provided you use the voice properly. Authorities differ on most of the rules of hygiene42 but on one point they all agree: vitality and longevity43 are increased by deep breathing. Practise this until it becomes second nature. Whenever you are speaking, take in deep breaths, but in such a manner that the inhalations will be silent.
Do not try to speak too long without renewing your breath. Nature cares for this pretty well unconsciously in conversation, and she will do the same for you in platform speaking if you do not interfere44 with her premonitions.
A certain very successful speaker developed voice carrying power by running across country, practising his speeches as he went. The vigorous exercise forced him to take deep breaths, and developed lung power. A hard-fought basketball or tennis game is an efficient way of practising deep breathing. When these methods are not convenient, we recommend the following:
Place your hands at your sides, on the waist line.
By trying to encompass45 your waist with your fingers and thumbs, force all the air out of the lungs.
Take a deep breath. Remember, all the activity is to be centered in the middle of the body; do not raise the shoulders. As the breath is taken your hands will be forced out.
Repeat the exercise, placing your hands on the small of the back and forcing them out as you inhale46.
Many methods for deep breathing have been given by various authorities. Get the air into your lungs—that is the important thing.
The body acts as a sounding board for the voice just as the body of the violin acts as a sounding board for its tones. You can increase its vibrations by practise.
Place your finger on your lip and hum the musical scale, thinking and placing the voice forward on the lips. Do you feel the lips vibrate? After a little practise they will vibrate, giving a tickling47 sensation.
Repeat this exercise, throwing the humming sound into the nose. Hold the upper part of the nose between the thumb and forefinger48. Can you feel the nose vibrate?
Placing the palm of your hand on top of your head, repeat this humming exercise. Think the voice there as you hum in head tones. Can you feel the vibration there?
Now place the palm of your hand on the back of your head, repeating the foregoing process. Then try it on the chest. Always remember to think your tone where you desire to feel the vibrations. The mere49 act of thinking about any portion of your body will tend to make it vibrate.
Repeat the following, after a deep inhalation, endeavoring to feel all portions of your body vibrate at the same time. When you have attained50 this you will find that it is a pleasant sensation.
What ho, my jovial51 mates. Come on! We will frolic it like fairies, frisking in the merry moonshine.
Purity of Voice
This quality is sometimes destroyed by wasting the breath. Carefully control the breath, using only as much as is necessary for the production of tone. Utilize52 all that you give out. Failure to do this results in a breathy tone. Take in breath like a prodigal53; in speaking, give it out like a miser54.
Voice Suggestions
Do not drink cold water when speaking. The sudden shock to the heated organs of speech will injure the voice.
Avoid pitching your voice too high—it will make it raspy. This is a common fault. When you find your voice in too high a range, lower it. Do not wait until you get to the platform to try this. Practise it in your daily conversation. Repeat the alphabet, beginning A on the lowest scale possible and going up a note on each succeeding letter, for the development of range. A wide range will give you facility in making numerous changes of pitch.
Do not form the habit of listening to your voice when speaking. You will need your brain to think of what you are saying—reserve your observation for private practise.
QUESTIONS AND EXERCISES
1. What are the prime requisites for good voice?
2. Tell why each one is necessary for good voice production.
3. Give some exercises for development of these conditions.
4. Why is range of voice desirable?
5. Tell how range of voice may be cultivated.
6. How much daily practise do you consider necessary for the proper development of your voice?
7. How can resonance and carrying power be developed?
8. What are your voice faults?
9. How are you trying to correct them?
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1
recesses
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| n.壁凹( recess的名词复数 )；（工作或业务活动的）中止或暂停期间；学校的课间休息；某物内部的凹形空间v.把某物放在墙壁的凹处( recess的第三人称单数 )；将（墙）做成凹形，在（墙）上做壁龛；休息，休会，休庭 | |
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acting
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| n.演戏，行为，假装；adj.代理的，临时的，演出用的 | |
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persuasiveness
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| 说服力 | |
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entirely
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| ad.全部地，完整地；完全地，彻底地 | |
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requisite
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| adj.需要的，必不可少的；n.必需品 | |
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requisites
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| n.必要的事物( requisite的名词复数 ) | |
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metropolitan
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| adj.大城市的，大都会的 | |
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relaxation
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| n.松弛，放松；休息；消遣；娱乐 | |
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constricted
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| adj.抑制的，约束的 | |
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tongs
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| n.钳；夹子 | |
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yoke
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| n.轭；支配；v.给...上轭，连接，使成配偶 | |
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contraction
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| n.缩略词，缩写式，害病 | |
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funnel
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| n.漏斗；烟囱；v.汇集 | |
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unnatural
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| adj.不自然的；反常的 | |
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constriction
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| 压缩； 紧压的感觉； 束紧； 压缩物 | |
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poise
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| vt./vi. 平衡，保持平衡；n.泰然自若，自信 | |
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pivot
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| v.在枢轴上转动；装枢轴，枢轴；adj.枢轴的 | |
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jaw
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| n.颚，颌，说教，流言蜚语；v.喋喋不休，教训 | |
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flexibility
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| n.柔韧性，弹性，（光的）折射性，灵活性 | |
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syllables
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| n.音节( syllable的名词复数 ) | |
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ooze
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| n.软泥，渗出物；vi.渗出，泄漏；vt.慢慢渗出，流露 | |
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watchfulness
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| 警惕，留心； 警觉（性） | |
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habitual
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| adj.习惯性的；通常的，惯常的 | |
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perfectly
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| adv.完美地，无可非议地，彻底地 | |
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partially
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| adv.部分地，从某些方面讲 | |
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jaws
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| n.口部；嘴 | |
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rigidly
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| adv.刻板地，僵化地 | |
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vocal
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| adj.直言不讳的；嗓音的；n.[pl.]声乐节目 | |
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obstruction
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| n.阻塞，堵塞；障碍物 | |
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inhaling
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| v.吸入( inhale的现在分词 ) | |
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persevere
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| v.坚持，坚忍，不屈不挠 | |
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inefficient
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| adj.效率低的，无效的 | |
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rustling
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| n. 瑟瑟声，沙沙声 adj. 发沙沙声的 | |
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auditorium
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| n.观众席，听众席；会堂，礼堂 | |
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auditors
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| n.审计员，稽核员( auditor的名词复数 )；（大学课程的）旁听生 | |
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amateurish
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| n.业余爱好的，不熟练的 | |
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vibrations
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| n.摆动( vibration的名词复数 )；震动；感受；（偏离平衡位置的）一次性往复振动 | |
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vibration
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| n.颤动，振动；摆动 | |
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resonance
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| n.洪亮；共鸣；共振 | |
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vitality
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| n.活力，生命力，效力 | |
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vibrant
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| adj.震颤的，响亮的，充满活力的，精力充沛的，(色彩)鲜明的 | |
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hygiene
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| n.健康法，卫生学 （a.hygienic） | |
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longevity
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| n.长命；长寿 | |
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interfere
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| v.(in)干涉，干预；(with)妨碍，打扰 | |
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encompass
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| vt.围绕，包围；包含，包括；完成 | |
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inhale
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| v.吸入(气体等)，吸(烟) | |
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tickling
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| 反馈，回授，自旋挠痒法 | |
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forefinger
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| n.食指 | |
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mere
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| adj.纯粹的；仅仅，只不过 | |
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attained
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| （通常经过努力）实现( attain的过去式和过去分词 )； 达到； 获得； 达到（某年龄、水平、状况） | |
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jovial
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| adj.快乐的，好交际的 | |
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52
utilize
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| vt.使用，利用 | |
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prodigal
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| adj.浪费的，挥霍的，放荡的 | |
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miser
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| n.守财奴，吝啬鬼 (adj.miserly) | |
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hoarse
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| adj.嘶哑的，沙哑的 | |
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