The Ontario Readers: The High School Reader, 1886 | Page 6

every tone that it utters, manifest itself in some mode or
other of each; and it is the possibility of infinite choice in the ways of
combining the modes that gives to vocal expression its infinite
possibility of variety. The principles of voice culture will be best

understood, however, if these properties be considered separately.
=Quality= has reference to the kind of the voice in respect of its
smoothness or roughness, sonority or thinness, musicalness or
harshness; also in respect of the completeness of its vocality.
=Pitch= has reference to the degree of elevation or depression in what
is called in music the scale. It may be used specifically, in reference to
single tones or syllables (either as to their opening, or as to their whole
utterance), or generally, as descriptive of the prevailing tone or note
which the voice assumes in reading a sentence or passage.
=Force= has reference to the power or intensity with which the sounds
of the voice are uttered. When force is used in the utterance of single
syllables, in whole or in part, it is spoken of as =Stress=.
=Time= is rate of utterance. It is used with reference both to single
syllables, and to phrases, sentences, and passages. In regard to single
syllables it is sometimes called =Quantity=. In the consideration of
time may be included that of pauses and rhythms.
=Abruptness= has reference to the relative suddenness with which
syllables may be uttered. It may vary from the most delicate opening to
a forcible explosion.
Vocality depends upon respiration. All exercises, therefore, which are
effective in increasing the vigor, freedom, and elasticity of the
breathing apparatus, may be taken as initiatory steps in voice culture;
and, in moderation, they should be practised continually. Full, slow
inspirations followed by slow, and, as far as possible, complete
expirations; full, quick inspirations similarly followed; full inspirations
followed by sudden and forcible expirations; full, deep inspirations,
followed by slow, slightly but distinctly audible expirations, as in deep
sighing; these and similar practices may be pursued. What is to be
aimed at is to secure complete control of the breath, especially to the
degree that, with perfect deliberateness, it can be equably and smoothly
effused.

In all exercises where vocality is required it is best first to use the
sound of ä, as in far, for in this sound the quality of the human voice is
heard in most perfection, and in uttering it the vocal organs are most
flexible and most easily adapt themselves to change. It may be
preceded by the aspirate h, or by some consonant, as may be thought
necessary.
In effective speaking or reading, with respect to the abruptness and
rapidity of expiration there are three modes of utterance: the
=effusive=, by which the voice is poured forth smoothly and equably,
the =expulsive= and the =explosive=. Of these three modes the effusive
is by far the most important, but the others, and especially the expulsive,
have their uses also. These modes will be illustrated in the following
exercise:
EXERCISE.--1. After a full and deliberate inspiration let the expiration
of the element h be gently effected, until the lungs are exhausted--the
aspiration coming from the very depths of the throat. Let this be
repeated with the syllable häh, audibly whispered. This is effusive
utterance.
2. After a full and deliberate inspiration let the expiration of the
element h be suddenly effected, the expiration being continued until the
whispering sound vanishes in the bottom of the throat. Let this be
repeated with the syllable häh, audibly whispered. This is expulsive
utterance.
3. Let the exercise be the same as in (2) except that the expiration is to
be much more forcibly effected, and completed almost instantaneously.
This is explosive utterance.
In the cultivation of the voice either one of two ends is generally kept
in view--its improvement for speaking or its improvement for singing;
but progress may be made towards both ends by the same study, and
those exercises which benefit the singing voice benefit the speaking
voice, and vice versa. The distinction between speaking tones and
singing tones should be clearly understood. Musical tones are produced
by isochronous (equal-timed) vibrations of the vocal organs continued

for some length of time. Hence, a musical tone is a note, which may be
prolonged at will without varying in pitch, either up or down. A
speaking tone, on the contrary, is produced by vibrations which are not
isochronous; it is not a note, properly so called, and can not be
prolonged, without varying in pitch. Musical tones are discrete,--the
voice passes from pitch to pitch through the intervals silently. In
speaking, every tone, however short the time taken in uttering it, passes
from one pitch to some other through an interval concretely, that is,
with continuous vocality; though, with