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Updated: May 3, 2025
The author would also insist, in the most emphatic manner, on the great importance of making all such exercises musical. Every tone should be the best then possible to the voice-user, and power must on no account be aimed at for some time. Thus are developed and go hand in hand, as they always should, a sound technique with the artistic conscience and perceptions.
Each organ comes to perform some one function better than all others. This is specialization, and implies advance among animals as it does in civilization. The neuro-muscular system is of great moment to the voice-user. He is a specialist as regards the neuro-muscular systems of the vocal mechanism. But the same laws apply to it as to other neuro-muscular mechanisms.
The condition of the stomach is reflexly, if not by direct continuity through the mucous membrane, expressed in the throat generally; hence as experience shows, the voice-user cannot exercise too great care as to what and how much he eats, especially before a public appearance. He must know himself what best suits him, in this regard, to a degree that is necessary for few others.
It must be remembered that for a long time breathing, for the voice-user, must be a voluntary process, which, as has been pointed out, is not the usual and natural one for the individual when not phonating, which latter is essentially reflex or involuntary. The voice-user, in other words, must, with a definite purpose in view, take charge of himself.
So serious, however, is the decision to operate, or the reverse, for the voice-user, that the author recommends that such operations be entrusted only to laryngologists who have some knowledge of their influence on voice-production. It is of the greatest moment to observe that the quality of tones can be made to vary in the highest degree by the joint use of the tongue and soft palate.
If it be true that the welfare of one part of the body is bound up with that of every other, as are the interests of one member of a firm with those of another, in a great business, it will at once appear that the most perfect results can follow for the voice-user only under certain conditions.
He is also advised to use a hand-glass with the object of observing the parts mentioned in this chapter, and if he can also find a friend willing to lend his mouth for observation, so much the better. The sooner any voice-user comes to feel that his vocal destinies lie in his own hands, the better.
When this principle of reserve force is not observed, the voice-user may distress himself or his audience in a variety of ways, among others by a bad habit known as "pumping" i.e., endeavoring to produce sound when the breath power is really spent. It is only necessary to refer to it for a moment that its unwisdom and physiological unrighteousness may be apparent.
The processes each employs, though not identical, are closely related; both use the breath to cause vibrations, and there can be none that are effective, in either case, except a certain relation of adaptation of breath-stream to instrument be effected with the clarinet-player, adjustment of breath to reed, and with the voice-user, of breath to vocal bands.
The first great requisite for a voice-user is a well-developed chest; the next, complete control of it, or, to put it otherwise, the art of breathing, as briefly explained above. The chest may be large enough, yet not be, in the physiological sense, developed.
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