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 A 
 
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 n 
 
VOICE PRODUCTION 
 
 BT 
 
 REV. RALPH C. HORNER, B.O. 
 
 WITH AN INTRODUCTION BY THE 
 
 REV. N. BURWASH, M.A., S.T.D., 
 
 Chancellor of Victoria University. 
 
 TORONTO : 
 
 WILLIAM BRIGGS, 78 & 80 KING STB.^ET EAST. 
 ^C. W. CoATES, Montreal, Que. S. F. Huestis, Halifax, N.S. 
 
 1888. 
 
V 
 
 M 
 
 1 >iMi» .j 
 
 H"T2i^\i 
 
 THIOL 
 
 Lmered according to Act of the Parliament of Canada, in the year one 
 thousand e,ght hundred and eighty-eight, by W.ll.a^, IJu-.ccs Book- 
 Steward of the Methodist Book and Publishing House. Toronto, a, 
 the Department of Agriculture. 
 
 »^--=v-n-e-. 
 
 
CONTENTS. 
 
 PAGE 
 
 Introduction 5 
 
 Chest Breathing 11 
 
 Clavicular Breathing 12 
 
 Abdominal Breathing - • 13 
 
 Breathing Exercises 15 
 
 Muscles 16 
 
 Muscles of the Face - 17 
 
 Throat Muscles 18 
 
 Chest Muscles 19 
 
 Intercostal Muscles 21 
 
 Abdominal Muscles • - 22 
 
 Organs of Speech 23 
 
 Pharynx 25 
 
 Larynx 26 
 
 Lungs 28 
 
 Diaphragm 29 
 
 Articulation 32 
 
 Table of Elementary Sounds 33 
 
 Breath Sounds 34 
 
 Union Sounds 34 
 
 Position - - • - 37 
 
 Pure Tone 38 
 
 Obotund - . - - - • - - • 41 
 
V 
 V 
 
 I 
 
 ! i 
 
 ! I 
 
 'I 
 
 It 1 
 
 ) 
 
INTRODUCTION. 
 
 This little work, by the Rev. R. C. Horner, B.O., 
 which I have great pleasure in introducing to the pub- 
 lic, treats of a subject of vital importance to public 
 speakers. The intimate relation of the general health 
 to the tone of the voice is well known. All have ob- 
 served that in disease or in old age and physical decay, 
 the voice loses its full, round tone and grows weak, 
 thin, and husky. But it is not so well understood 
 that the proper exercise of the voice is one of the very 
 best means of regaining health. Of course we cannot 
 represent elocutionary exercises as a cure-all. But 
 we know that a daily judicious exercise of the voice 
 will be of .inestimable benefit in diseases of the throat, 
 in weakness of the lungs, in depression of the nervous 
 system, and in many cases of dyspepsia. These, either 
 separately or in combination, are, perhaps, the four 
 most fatal enemies of the preacher of the gospel, and 
 very frequently the sore throat is but the bulletin 
 board on which is announced a disordered state of 
 the stomach, a relaxed nervous system, or incipient 
 consumption. 
 
4 
 
 1 
 
 INTRODUCTION. 
 
 1 1 
 
 ! 
 
 The hygienic advantage of these exercises lies in 
 the more abundant supply of oxygen to the whole 
 system. Oxygen is nature's great purifier and tonic 
 in one. It removes from the system all material no 
 longer available for vital purposes. By oxidation it 
 dissolves, and so carries out of the system that which 
 retained is the cause of congestion and disease. But 
 the oxygen absorbed by the blood in the lungs is also 
 the essential basis of all the vital activities. Every 
 muscular exertion, every nervous effort, every moment 
 of concentrated thought requires, as the physical basis 
 of its due performance, the oxidation of so much vital 
 tissue ; and the whole animal oro^anization lives and 
 moves by continuous oxidation. A bountiful supply 
 of oxygen is thus the sine qua non of energetic living; 
 and so these breathing exercises are not for voice alonC; 
 but for the whole life as well. 
 
 Allow me to add to Mr. Horner's admirably clear 
 presentation of his subject, a collateral thought or two. 
 These efforts after a perfect command and full de- 
 velopment of voice should, in every case, be accom- 
 panied by a general hygienic regimen, such as will 
 give tone to the system. The old-time pioneer 
 preachers were seldom troubled with sore throat 
 or dyspepsia, except as the result of hereditary 
 predisposition resulting in fatal disease. They had 
 
INTROnUCTIOK. 
 
 Ilies in 
 whole 
 tonic 
 ial no 
 ion it 
 which 
 But 
 is also 
 Every 
 oment 
 1 basis 
 
 I vital 
 !s and 
 supply 
 livin^r; 
 alone. 
 
 clear 
 f two. 
 
 II de- 
 scorn- 
 will 
 
 oneer 
 
 liroat 
 
 itary 
 
 had 
 
 .-:i 
 
 maji^nificcnt voices, capable of inakiuL,' the old camp- 
 meeting welkin ring with tb ir full clear notes ; and I 
 can remember hearing many of them at a distance of 
 half a mile. But to-day our young preachers are 
 afflicted with habits or circumstances that induce 
 disease in the most perfect constitution, and speedily 
 brinir down both voice and health. The first is the 
 number of hours spent in close, stove-heated and over- 
 heated rooms. In such rooms they study, in such they 
 are often obliged to preach, there they sometimes sleep, 
 and the over-heated, ill-ventilated room in which the 
 midnight oil has been consumed, is a worse place for 
 sleep than even the proverbial cold, damp, spare room 
 reserved for the preacher, and which is now seldom met 
 with. Get out into the open air. Learn to study in the 
 open air. Take hardy exercise. Swing the axe, climb 
 the hills, do anything that will tone up the system, bub 
 avoid everything that relaxes and depresses it. A 
 second difficulty is the habit of riding in a buggy or 
 sulky instead of on horseback. Buggy-riding almost 
 inevitably throws the shoulders forward, results in a 
 stoop, and contracts the chest, and so deprives us of 
 nearly all the benefit that might otherwise be derived 
 from the hours which, in a country circuit, must be 
 spent in the open air. The saddle is the mode of travel 
 for the man who seeks and enjoys high physical tone, 
 
8 
 
 INTKODUCTION. 
 
 which with hij^h moral tone, is the true hiojh tone. A 
 pair of overalls will obviate the mud, and the dust 
 will give less inconvenience than in the bugg3\ In 
 very severe weather the cutter can be used ; but as 
 regards all ordinary cold, the tine tone and glowing 
 circulation, which the habit of riding will develop, will 
 enable one to stand it without suffering. A horseback 
 ride over the hills on a fine June morning, has in it 
 more of exhilaration, and will do more to produce that 
 grand flow of nervous energy, which is the physical 
 soul of good preaching, than any other exercise. A 
 third fatal besetment of the young preacher consists 
 in what I may call a generally luxurious, self-indulgent 
 effeminate habit of life. We preachers need to cultivate 
 a firmly-disciplined, almost military, regimen. The old^ 
 Roman and Spartan warriors understood w^ell the need 
 of this. Plain food in just sufficient quantity, a hard 
 bed, fixed hours to bed and to rise, no time wasted in 
 lounging round in easy chairs and sofas, in soft chit- 
 chat with young ladies, attention to Wesley's twelve 
 rules — these are good for both soul and body, and 
 vNill help these breathing exercises after a w^onderful 
 fashion. But I need not expand these thoughts further. 
 As Cicero has said, the orator should be a perfect man. 
 Great soul lies at the foundation of all good speaking. 
 It is nob the appearance, bub the truth that the world 
 
 n: .i 
 
 W'^ 
 
 :r i 
 
INTRODUCTION. 
 
 9 
 
 ne. A 
 
 le dust 
 
 [Y- In 
 but as 
 
 lowing 
 )p, will 
 seback 
 i in it 
 !e that 
 lysical 
 ?e. A 
 )nsists 
 Lil^i^ent 
 tivate 
 le old 
 J need 
 . hard 
 ed in 
 chit- 
 vvelve 
 , and 
 leiful 
 rther. 
 man. 
 king, 
 ^orld 
 
 needs, and the object of* this little book is to let the 
 truth speak out, throuf,di healthy ort^ans of voice, freed 
 from the disabilities inflicted by bad habits and disease. 
 And some of tlie means to which I have referred may 
 also aid, that the truth " may dwell in us richly in all 
 wisdom and spiritual understanding." Unless it so 
 dwell it cannot speak out. 
 
 N. BURWASH. 
 
VOICE PRODUCTION. 
 
 CHEST BREATHING. 
 
 Chest breatlnnj^ is the most common fault in respi- 
 ration. This unnatural and restricted form of breath- 
 m<r causes a risinj^: and sinkinj;^ of the chest. The 
 sternum presses upon the trachea, and the tone of 
 voice is thereby necessarily injured. When breathing 
 is confined to the chest, the voice lacks in volume, force 
 and power ; the chest contracts, and the proper space 
 for the lunf^s is diminished. The lungs will gradually 
 congest, and their capacity for containing air will be- 
 come very limited ; the voice will lose ,its depth, and 
 its tendency will be to run up on high and harsh tones. 
 Those who hope to acquire the ability to give expres- 
 sion to the sentiment when reading, and to speak 
 fluently with ease, must, by a persistent effort, culti- 
 vate the ability to breathe deeply, and bring under 
 complete control all the organs of respiration. Deep 
 breathing opens up and expands the lungs, and pro- 
 tects them from pulmonary diseases. A French author 
 
i ! 
 
 12 
 
 VOICE PRODU(TION. 
 
 - 
 
 1 1 
 
 writes : " All men who make it their profession to try 
 wind instruments made at the various factories before 
 sale, all, without exception, to my knowledge, are free 
 from pulmonary affections. I have known many such 
 who, on entering upon this profession, were very deli- 
 cate, and who, though their duty obliged them to blow 
 for hours together, enjoyed perfect health after a cer- 
 tain time. I am myself an instance of this. My 
 mother died of consumption, eight of her children fell 
 victims to the same disease, and only three of us sur- 
 vive, and we all three phxy on wind instruments. The 
 day is not far distant, perhaps, when physicians will 
 have recourse to our dreaded art in order to conquer 
 pulmonary diseases " 
 
 CLAVICULAR BREATHING. 
 
 This habit is very prevalent among vocalists. It 
 oriijinates in fillin<j: the lunojs too full. Thus the chest 
 and shoulders are caused to rise, and when they are 
 sinking they force the air out of the lungs, and, as a 
 consequence, control is lost. When an effort is made 
 to store away a large quantity of air in the lungs, it is 
 impossible to give expression to sentiment, and at the 
 same time to have complete control of the breath. 
 
 The chest and shoulders should not rise in inhala- 
 tion, and the air should be allowed to flow into the 
 
 1*1 i 
 
VOICE PRODUrTTON. 
 
 \n 
 
 ion to try 
 ies before 
 e, are free 
 nany such 
 
 very deli- 
 )m to blow 
 ifter a cer- 
 
 this. My 
 lildren fell 
 
 of us sur- 
 lents. The 
 sicians will 
 
 to conquer 
 
 jr. 
 
 Dcalists. It 
 us the chest 
 en they are 
 s, and, as a 
 fort is made 
 e lunprs, it is 
 }, and at the 
 breath, 
 e in inhala- 
 ow into the 
 
 luncrs naturally. An oflfort is orenerally made to store 
 awly sufficient air to sustain the voice from one sen- 
 tence to another throuj-h the climax, and the very 
 effort defeats the purpose. There should be time 
 enough allowed for the air to flow into the lungs, and 
 proper control should be sought, rather than mere 
 power of storage. This habit of breathing is the chief 
 cause of what is known as the minister's sore throat- 
 The use of much breath dries up the throat, which, 
 being vigorously used when dry, becomes irritated. 
 
 When the air is forced from the lungs, either by an 
 unnatural position of body, or the improper use of any 
 of the organs of respiration, exhaustion is the imme- 
 diate conseciuence, and just when strength is most 
 needed— in coming up to and sustaining the climax- 
 failure is inevitable. In faulty breathing the sides of 
 the chest are drawn in against the lungs. This is not- 
 able in stammerers, as they force the air out of the 
 lungs in spurts. The abdomen is depressed when it 
 should be protruded. 
 
 ABDOMINAL BREATHING. 
 Deep breathing formulates the basis for a volumin- 
 ous tone of voice. A clear, rounded, magnetic tone of 
 voice cannot be produced until the ability to breathe 
 deeply has been acquired. It is the proper adjustment 
 
I 1: 
 
 14 
 
 VOICE PRODUCTION. 
 
 ! i" 
 
 of all the organs of respiration which gives the power 
 to get hold of words and sentences and set them home, 
 with all the dynamical force of the living man. Deep 
 breathing exerts every part within the whole range of 
 the respiratory system, and exercise is a condition of 
 health and strength, as necessary as food and air. 
 Any part of the system which has not been exercised 
 will be weakened in proportion to the time it has been 
 inactive. The hand which hangs by the side, and is 
 not brought into active, vigorous use, loses all its mus- 
 cular force ; likewise the organs of respiration need 
 exercise in order to be healthy, flexible and strong. 
 All the muscles which are used in building up a clear, 
 rounded, voluminous tone of voice are developed by 
 deep breathing, and control over them may be so 
 amply secured that at will all the reserved forces may 
 be called into action. By deep breathing the lungs 
 are made capacious and expansive, all the muscles of 
 the sides, chest and back are strengthened ; the whole 
 body has added form and comeliness, and the voice 
 obtains strength and resonance. Perfect control of the 
 breath is an art attained only by the few, who have 
 perseverance enough to overcome all obstinate impedi- 
 ments by pursuing proper breathing exercises. True 
 art leads not to artitice, but to nature, and science is 
 the mother of perfected art. 
 
 I! 
 
■:j 
 
 he power 
 
 3m home, 
 
 n. Deep 
 
 range of 
 
 ndition of 
 
 and air. 
 
 exercised 
 
 it has been 
 
 ide, and is 
 
 ,11 its mus- 
 
 ation need 
 
 md strong. 
 
 up a clear, 
 
 veloped by 
 
 may be so 
 
 forces may 
 
 r the lungs 
 
 muscles of 
 
 ; the whole 
 
 d the voice 
 
 Dntrol of the 
 
 wr, who have 
 
 nate impedi- 
 
 'cises. True 
 
 id science is 
 
 VOICE PRODUCTION. 
 
 15 
 
 BREATHING EXERCISES. 
 
 Extremes in these, as in all other healthful exercises, 
 should be avoided. While some ignore these exercises, 
 others abuse them, either by an improper method of 
 breathing, or by straining instead of developing the 
 muscles. A room well ventilated should be the first 
 consideration, as the health and natural activity of the 
 physical organs depend on the quality of the air in- 
 haled. In inspiration, the air should pass through the 
 nostrils, its natural course to the lungs. This is not- 
 ably illustrated in the breathing of animals, savages, 
 and healthy children. The air is thus filtered and 
 warmed, before reaching the lungs, which are thereby 
 protected from the impurities and the coldness of the 
 atmosphere, either of which is liable to produce dis- 
 ease. In breathing exercises observe the following 
 directions : — 
 
 The position should be easy and erect ; the chest 
 should be held firmly, but not rigidly ; the shoulders 
 should be held back slightly. 
 
 The lungs should be filled slowly ; the air should be 
 inhaled through the nostrils, and great care should be 
 observed not to fill the lungs too full. 
 
 The breath thus taken should be held for a few 
 seconds, and then be allowed to escape, not with a rash, 
 but gradually and slowly, from the lungs. 
 
16 
 
 VOICE rUODUCTION. 
 
 This exercise should be commenced easily, and in- 
 creased in vioror, according as the lungs expand and 
 the muscles develop. The control of the breath is 
 ac(juired only by a persistent eii'ort, and when fully 
 attained, all the muscles which are used in voice pro- 
 duction will be thereby under complete control. It is 
 with breath as it is with money ; the successful man is 
 not he who has most, but he who makes the best use 
 of what he has. Full, deep inspiration is of great im- 
 portance, but it must not be forgotten that it is the con- 
 trol of the breath, rather than the quantity used, which 
 secures effective speech. 
 
 MUSCLES. 
 
 Voice being a muscular production, its strength and 
 power will, therefore, necessarily depend upon the de- 
 velopment of the muscles used in producing a full 
 tone. The proper action of the muscles used in breath- 
 ing constitutes the primary power of respiration, and 
 as the same muscles are used in voice production, 
 therefore the proper use and pow.er of the voice de- 
 pends entirely upon the control which is secured over 
 these muscles. The proper control and development 
 of a muscle can never be perfected, except by a per- 
 sistent effort. Be it remembered here that no great 
 victories are won without a persistent effort. That 
 
VOICE PKODrCTlON 
 
 17 
 
 which is not worth laboring for is not worth Imving. 
 The voice never becomes strong until proper control 
 of the breath has been secured, and all the muscles 
 used are so adjusted that at will they perform their 
 function with ease. 
 
 MUSCLES OF THE FACE. 
 Sound is thrown by the organs of speech from the 
 vocal bands into the cavity of the mouth, and is 
 moulded by the lips and teeth into elementary sounds 
 and words. The muscles of the mouth and face should 
 be so relaxed that they will pass rapidly from one 
 position to another, and give the various shades of 
 color to the syllables and words, and mould them pre- 
 cisely to suit the sentiment. Many are troubled with 
 a stiffness of muscle about the mouth ; frequently this 
 stiffness is hereditary, but very often it is the result of 
 a careless mode of expression. When these muscles 
 are stiff, the number of moulds is diminished accord- 
 inolv and, as a consequence, many words which have 
 no similarity will be made in the same mould. Proper 
 exercises, if prosecuted, will remove all impediments, 
 so that, with ease and precision, every sound can be 
 articulated, and beautified by its true color of tone. 
 For practice, " oi " and " ou," repeated alternately, will 
 relax one set of muscles, if the exercise be performed 
 2 
 
 f 
 
18 
 
 VOICE PRODUCTION. 
 
 m 
 
 with care, each sound heing brought out distinctly and 
 correctly. Another set of muscles can be relaxed by 
 repeating " bfi," " pa," with rapidity. An hour of care- 
 ful exercise each day for four months will make these 
 two sets of muscles elastic, and all difficulties in articu- 
 lation will readily be overcome, so that every sound 
 can be produced precisely. The mouth should be 
 opened freely. Christ's Sermon on the Mount was 
 prefaced by : " He opened His mouth, and taught 
 them." This very important condition of lucid state- 
 ment generally receives very little special attention. 
 
 THROAT MUSCLES. 
 
 The action of these muscles is a very important fac- 
 tor in expression. The quality of the tone depends 
 entirely upon their action. When the muscles of the 
 throat are tensioned the cavity of the larynx is dimin- 
 ished, the vocal bands are drawn together, the natu- 
 ral flow of the voice is impeded, the throat becomes 
 irritated, and the tone of voice is thereby necessarily 
 impaired. When they are relaxed the larynx opens, 
 the voice flows smoothly without any friction, the tone 
 is pure and musical — adapted to the most sublime sen- 
 timent, pleasing to an audience, and as fascinating as 
 the most melodious tones of any musical instrument. 
 The throat muscles being tensioned, the tone at once 
 
 
VOICE PRODUCTION. 
 
 19 
 
 becomes guttural, adapted to the most invective senti- 
 ment. In the first public efforts to cfive expression to 
 sentiment, the tendency, either through nervousness, 
 or through fear, is to tension the muscles of the throat, 
 and, as a consefejuence, impure, harsh tones of voice are 
 used to express the most sublime sentiment. Having 
 become the slave of habit, emancipation will be secured 
 only by a persistent effort. When perfect control over 
 these muscles has been secured, the voice, at will, 
 sweeps over the whole scale of modulation; each muscle 
 performing its function with ease, producing tone 
 colored to suit the sentiment. The degree of perfec- 
 tion that is attained in producing a pure tone of voice 
 depends largely, if not altogether, upon the control 
 which has been secured over the throat muscles. 
 
 CHEST MUSCLES. 
 
 The function of these muscles is not to produce 
 voice. Their special work is to hold the chest firm, 
 and keep it from depressing — thus affording space for 
 the proper action of all the muscles in the thorax, 
 which are used in producing tone. The chest will ex- 
 pand and become round and full when these muscles 
 are being developed and properly used. A deficiency 
 about the chest renders proficiency in oratory unattain- 
 able. Some are naturally deficient in chest capacity, 
 
20 
 
 VOICE PRODUCTION. 
 
 W 
 
 ■' 
 
 i 
 
 and need never hope to acquire the ability they could 
 have possessed if nature liad more liberally endowed 
 them. Others have contracted thuir chests and crip- 
 pled the muscles hy force of habit. 
 
 While youn^f and growininr mpidly some fall into a 
 careless way of standing, sitting, and walking, and 
 thereby become deformed ; and others are over-taxed 
 with work to such an extent that the shoulders be- 
 come rounded, — the chest contracts, and the muscles 
 lose their flexibility and power. Many students pro- 
 secute their studies so closely, that they neglect all 
 exercises in gymnastics and calisthenics — day and 
 night they lean over their desks — storing their minds 
 with knowdcdge, but at the same time so impairing 
 their physical system that they never can succeed in 
 their professions. In order to throw off careless habits 
 and restore the body to its natural pose, it will be 
 necessary to keep up a thorough course of systematic 
 exercise. Observe this rule : — 
 
 11 Whether standing, sitting, walking, reading, speak- 
 ing, or in gymnastic exercises — let the position always 
 be erect, the chest be protruded, the shoulders and 
 arms be held back slightly ; and in a very short time 
 the chest will expand and the muscles will become 
 flexible and powerful. 
 
VOICE PRODUCTION. 
 
 21 
 
 INTERCOSTAL MUSCLES. 
 
 In proper breatluni^ exercises aiul in voice builclin*]^^ 
 these muscles have a very important function which 
 is not very (generally conceded. They are so connected 
 with the muscles which are used in producing tone, 
 that it is impossible for them to be inactive. When 
 the air is pressed into the lungs in full deep inspira- 
 tion, the ribs are drawn up by the external inter- 
 costal muscles. This action of the external muscles 
 should be counteracted by the internal intercostal 
 muscles, which should work simultaneously with the 
 diaphragm, and prevent the ribs from rising. The 
 chest and ribs should be allowed to inflate in inhala- 
 tion, as they will do naturally, if all the muscles used 
 are brought into unison with the proper action of the 
 diaphragm. In order to secure perfect conti'ol over a 
 muscle its proper function should first be known. 
 These muscles are so connected with the muscles of 
 the chest and abdomen that their development is also 
 inseparable. Close attention to the action of these 
 muscles is very necessary, as any error will seriously 
 aflect the proper use of the organs of speech, and also 
 the production of tone. True mastery of vocal power 
 is to overcome every weakness; remove every impedi- 
 ment ; secure control over every organ of speech ; de- 
 velop every capacity ; so that without any conscious 
 
 tti 
 
 iritf 
 

 22 
 
 VOICE PRODUCTION. 
 
 effort the whole being will enter into the sentiment, 
 and so arouse the sympathy of an audience, that they 
 will be spell-bound by the soul power of the orator, 
 and view his subject matter throu^^h the meilium of 
 himself, and yield themselves to his persuasion. 
 
 
 ill' 
 
 1 ' 
 
 Jl 
 
 M 
 
 i-, 
 
 ABDOMINAL MUSCLES. 
 
 Many teachers of voice production consider these the 
 most important muscles used in buildin<ij up a good 
 tone of voice. Their theory is, that the strength and 
 power of the voice lies in these muscles alone, and 
 that their vigorous use constitutes the primary power 
 of a clear, full, rounded tone. Such teaching is erro- 
 neous. Their function in voice building is a very im- 
 portant one, and their development should be carefully 
 and persistently prosecuted. The proper position and 
 action of these muscles are very important factors in 
 producing and building up tone. They arc a fulcrum 
 for the diaphragm to place its lever upon to give power 
 and resonance to the voice, and when they do more 
 than serve in this capacity, they injure rather than 
 help the organs which produce tone. The tendency of 
 these muscles in their action is to raise the whole ab- 
 domen and drive the air out of the lungs, as demon- 
 strated by an explosive tone of voice ; and if this action 
 is not counteracted by the diaphragm pressing down 
 
 ill I 
 
T 
 
 VOICE PRODUCTION. 
 
 23 
 
 upon these muscles, the tone of voice will be harsh, 
 and the throat will become dry and irritated. The 
 control of these muscles must be sought through the 
 diaphragm, since their proper adjustment to the work 
 of buihling up tone is consequent on the proper use of 
 the diaphragm. Naturally, these muscles receive more 
 general and constant exercise than any other muscles 
 which are used in voice production, still this does not 
 necessarily help them materially in building up tone, 
 as a muscle may be developed for one purpose, and at 
 the same time lose its power for other purposes. 
 
 Proper breathing exercises, if prosecuted with care 
 and diligence, will develop these muscles rapidly. 
 Exercises in gymnastics and calisthenics may be a 
 source of great power in developing them, if com- 
 menced gradually, and increased in vigor as the 
 muscles become stronger. If these muscles are pro- 
 perly used in giving expression to sentiment, whether 
 in reading, in singing, or in speaking, they will increase 
 very rapidly in flexibility and power. 
 
 ORGANS OF SPEECH. 
 
 Great care should be exercised, in order to have the 
 organs of speech free from disease. Health must 
 always be the first consideration. When the organs 
 of speech are free from disease, they can be brought, 
 
24 
 
 VOICE PKOD FICTION. 
 
 |!l 
 
 ll i 
 
 by the use of natural means, under complete control, 
 so that each one will ])erform its function with ease. 
 The mechanism of these or^^ans somewhat resembles a 
 musical instrument. Dr. Elsberg compares them as 
 follows with the reed origan : " In the orijan there is 
 a bellows to supply current air, a wind-chest or 
 portevent to conduct it, a reed to vibrate, and a body- 
 tube, or resonance pipe, to augment it and modify the 
 sound j)roduced. In the human voice and speech 
 organ, the lungs are the bellows; the bronchial tubes, 
 from the smallest ramifications upward to the wind- 
 pipe, are the wind-chest ; the larynx contains the 
 reed ; and the space above the reed, including the 
 upper cavity of the larynx, and the cavities and 
 adnexa of the pharynx, mouth and nose constitute the 
 resonance-tube. These orirans differ somewhat in in- 
 dividuals ; this is discernable in the tones of their 
 voices, and is especially noticeable when comparing 
 the voices of those livini^ in ditlerent climates. Per- 
 feet control over all the organs of speech is a mastery 
 which is not attained except by a persistent effort. It 
 is very necessary that each organ should perform its 
 part in producing tone and rendering sentiment. Very 
 often one organ is strained, while others are inactive, 
 and hence broken and husky voices, and the lack of 
 different shades of color in the tones. When natural 
 
VOICE PRODUCTION. 
 
 25 
 
 laws are beiinj? observed, the proper acjjustment of all 
 the orrrans of speech will keep them in a vi-oroiis and 
 
 healthy state. 
 
 PHARYNX. 
 
 This iiiusculo-ineuibranous and fibrous sack has eight 
 openincrs into it ; the largest of these is from the mouth. 
 There is no organ of speech over which it is more 
 necessary to have compUite control than the pharynx, 
 as the location of tone depends entirely upon its action. 
 The (pjality of a tone depends very largely upon the 
 location of its focus, and whether it is a nasal, a head, 
 a ilat, or a good tone, is traceable to the proper or im- 
 proper action of the pharynx. When the sound is 
 thrown by this organ into the nasal cavity, the tone 
 will necessarily be of a nasal quality. Flat tones are 
 made by throwing the sound too far back in tlic roof 
 of the mouth, thus locating it in the region of the soft 
 palate. A go(jd, clear tone is foruicd by the pharynx 
 taking the sound as ib comes from the vocal bands and 
 throwiiig it against the hard palate ; from thence the 
 vibrations go throughout the mouth, to be moulded by 
 tlie teeth and lips into elementary sounds, words and 
 sentences. " The air should rebound from immediately 
 above the h mt upper teeth, where it must be concen- 
 trated as much as possible, rebounding thence to form 
 in the mouth continuous vibrations." The tones thus 
 
 ■ 
 
26 
 
 VOICE PRODUCTION. 
 
 formed in the cavity of the mouth should be projected 
 to a distant point, as if directed towards an individual 
 or object in the farthest corner of the room. " The 
 vibratory power of the vocal organs may be improved 
 by culture, just as a violin is said to gain a habit of 
 vibration, making it sensitive to the touch of the bow, 
 and freeing it from those resinous particles, which 
 obstruct the free movement of its wooden fibres" 
 Muscles possess the power of retaining habits imposed 
 upon them by continued and prolonged exercise. 
 
 LARYNX. 
 
 This musculo-cartilaginous box contains the vocal 
 bands, and is one of the principal organs of speech. 
 The sound out of which the voice is formed proceeds 
 from this organ, and is produced by the air passing 
 rapidly over the vocal bands, causing them to vibrate. 
 The sound thus produced is moulded by other organs 
 of speech into different tones called voice. Whether a 
 tone is high or low depends upon the position of the 
 larynx. 
 
 A low deep tone is produced by relaxing the throat 
 muscles, so that the larynx will sink down into the 
 thorax, the vocal bands will be thereby lengthened. 
 When the lips are protruded, the distance between 
 their outward projection and the vocal bands will be 
 
VOICE PRODUCTION. 
 
 27 
 
 increased ; the Ioniser the barrel the deeper the sound. 
 A high tone is consequent upon the raising of the 
 larynx, thereby making the vocal bands and the bar- 
 rel shorter. If the throat muscles are relaxed and the 
 throat is opened, the larynx will move up and down 
 without any friction, and the variation of the voice, 
 which is dependent upon the flexibility of the larynx, 
 will readily sweep over the whole scale of modulation. 
 When the muscles of the throat are tensioned in the 
 slightest degree, they prevent the larynx from work- 
 ing freely ; and when they are greatly tensioned, the 
 vocal bands are drawn together, and the tone of voice 
 thereby is rendered throaty and harsh. 
 
 The vocal cords are two slight, elastic bands 
 which are situated in the larynx, immediately below 
 its outward projection known as the Adam's apple, 
 and a short distance above its junction with the 
 trachea. " These bands adhere so closely to the walls 
 of the throat as to be securely distinguishable by the 
 aid of the laryngoscope." In the act of producing 
 voice, the vocal bands are thrown forward into the 
 current of air escaping from the lungs, and the thin 
 membrane covering their surface is thus excited to 
 rapid vibration, and receiving resonance and volume 
 from the cavity of the chest and from the mouth,— 
 escapes from the lips a perfect creation— voice. 
 
28 
 
 VOICE PRODUCTION. 
 
 I 
 
 LUNGS. 
 
 It may be said that these are not orc^ans of 
 speech, but one thing is certain, that they contain the 
 air out of wliich the voice is made, and their expan- 
 sion renders the possibility of an increase of material, 
 and consequently a greater volume of voice. The vol- 
 ume of the voice must necessarily depend largely upon 
 the amount of air contained in the lungs ; if there is a 
 deficiency of material there must, of necessity be a 
 want in the thing formed out of it. 
 
 The' lungs should be made capacious by deep breath- 
 ing exercises, which will expand them and prevent 
 any part of them from closing or becoming diseased. 
 Some persons have w^eak lungs naturally, but the 
 weakest may become much stronger by carefully pro- 
 secuting proper breathing exercises. Others have 
 weakened their lungs by not using them properly, or 
 by exposing them to a cold or impure atmospere. 
 *• Weakness begets weakness,and diminished lung power 
 will impair both the quality and the power of the 
 voice." The greatest possible care should be taken of 
 the lungs, as the power of the voice depends very 
 largely upon their health, activity and capacity. They 
 are never injured or diseased by proper use. On the 
 contrary, proper exercises will develop them and in- 
 crease their capacit3^ True, they will become tired 
 
VOICE PRODUCTION. 
 
 29 
 
 as a limb will when over-taxed, but, like any other 
 physical member, will rest when an opportunity is 
 given. If attention is giv^en opportunities can easily 
 be afforded for the lungs to till, and they need never 
 be exhausted. When time is not allow^ed for breath- 
 ing until the lungs are completely emptied, an efibrt 
 is made to inhale, and, as a natural consequence, con- 
 trol is lost. When the breath is properly controlled, 
 the lungs, if not diseased, are capable of holding air 
 enough to express the most sublime sentiment, and 
 sustain the voice through the most impassioned 
 
 climax. 
 
 DIAPHRAGM. 
 
 Between the cavity of the chest and the cavity of 
 the abdomen, directly beneath and immediately con- 
 nected with the lungs, is the diaphragm, a mov- 
 able muscular partition. The diaphragm not being 
 located in the cavity of the thorax, it is therefore not 
 generally conceded to bg an organ of speech. All 
 teachers of voice production will admit that the dia- 
 phragm is not inactive when tone is being produced, 
 and they succeed in voice production, only as they 
 give prominance to the movement of this organ. As 
 before stated, the proper action of the diaphragm con- 
 stitutes the primary power in controlling the breath 
 and producing tone. Perfect control over this organ 
 
r" 
 
 30 
 
 VOICE PRODUCTION. 
 
 is necessary ; because, first, the power of the voice lies 
 in it ; second, it formulates a basis for the voice and 
 gives it resonance ; third, it gives an impetus to the 
 voice, which is carried into effect by the other orofans 
 of speech. A loud tone may be produced without the 
 proper use of the diaphragm, but, be it reuiembered, 
 that in speaking power is not noise — it is muscular 
 force. 
 
 The strength of the voice is consequent upon the 
 proper action of the diaphragm, which, when properly 
 used, bears down upon the abdominal muscles, and 
 causes the abdomen to protrude, thus holding in place 
 all the muscles used in breathing and voice produc- 
 tion, and preventing the air from being pressed out of 
 the lungs. The proper control of this organ is a mas- 
 tery, and when fully secured, all the other organs of 
 speech will naturally perform their function in pro- 
 ducing tone. While all the other organs of speech are 
 indispensable in the production of tone, yet they are 
 inadequate. They never did and they never can pro- 
 duce a clear, full, rounded, orotund voice, without the 
 proper action of the diaphragm so generally ignored 
 by public speakers. When the force of the will is 
 brought to bear upon the diaphragm, in its connection 
 with the lungs, if its control over them, has been cor- 
 rectly sought and attained, there will be given out air 
 
 til 
 
VOICE PRODUCTION. 
 
 31 
 
 enough to produce tone, but with no needless expen- 
 diture of breath, and no conse(|uent exhaustion. When 
 all the organs of speech are broughji under the com- 
 plete control of the diaphragm, the easy use of the 
 voice will readily be attained. The other organs of 
 speech can be controlled by the diaphragm only, and the 
 production of a clear, full, rounded, pure tone of voice 
 is consequent upon the proper use of this organ. There 
 are many speakers, who use their voices moderately 
 well, and know not at the same time whore the power 
 of the voice lies ; with such a little attention to proper 
 methods would suffice to develop marvellous gifts of 
 voice, hitherto not realized. When perfect control has 
 been secured over this organ it will perform its func- 
 tion with the greatest ease, and even though the 
 others organs may be somewhat diseased, the dia- 
 phragm will sustain the voice in the rendition of the 
 most sublime sentiment. In order to secure perfect 
 control over the diaphragm, observe the following 
 
 rules : — 
 
 In all breathing exercises, hold the diaphragm down 
 firmly upon the abdominal muscles, this action will 
 prevent the chest and shoulders from rising. 
 
 When performing breathing exercises, and when 
 building up tone, hold a book against the abdomen. 
 If the diaphragm is performing its function properly, 
 
 ^ 
 
 
32 
 
 VOICE PRODUCTION. 
 
 the abdomen will bo protruded instead of depressed, as 
 tbe diaphraj^matic muscles are stroni^'pr than the 
 abdominal muscles which rise up against them. 
 
 ARTICULATION. 
 
 There can be no artistic finish in expression until 
 the orofans which are used in articulation enunciate 
 clearly and correctly with ease. While clearness is 
 indispensable, it must be remembered that it is just as 
 necessary to be correct. Our educational system, with 
 all its proficiency, has failed, so far, to meet a want here, 
 at the very foundation of scholastic training. The 
 first thing that should be re(iuired of a child is, that 
 he should be able to articulate clearly, distinctly, and 
 correctlv, all the sounds of the EnHish lannfuafje. It 
 is the sound and not the alphabetical name which 
 should first be tiiught. It would make very little 
 difference, if any, whether or not the child ever knew 
 the name. He who would excel in giving expression 
 to sentiment must — as all greatest orators have done — 
 overcome all difficnlties in articulation. Demosthenes' 
 voice was so inarticulate that he could not pronounce 
 the first sound in the name of the very art which he 
 purposed to master — and did master. Cicero declaimed 
 daily before a friend until he overcame every impedi- 
 ment, and his voice became clear and melodious. 
 Lord Chatham read over a large dictionary twice. 
 
 m 
 
VOICE PRODUCTION. 
 
 33 
 
 examining every word and dwelling on all its shades 
 of color in enunciation, until his voice became a 
 marvellous combination of richness and strength, and 
 his articulation became so clear and correct that he 
 could be heard distinctly when his voice sank to a 
 whisper. George Whitfield had attained to such a 
 mastery over all the organs of speech, that his articu- 
 lation was clear and correct; every accent, and every 
 modulation of his voice was so perfectly toned, that 
 the sound was like that of beautiful music. Daniel 
 Webster pronounced his words in such tones that his 
 hearers would imagine that they heard him all night, 
 after listening to him. 
 
 TABLE OF ELEMENTARY SOUNDS. 
 
 The following table is used in the National School 
 of Elocution and Oratory : 
 
 WEBSTER. WORCESTER. 
 
 WEB. 
 
 WOR. 
 
 L 
 
 long 
 
 a a le 
 
 a 
 
 12. 
 
 long 
 
 u 
 
 use 
 
 u 
 
 2. 
 
 short 
 
 Sat 
 
 a 
 
 13. 
 
 short 
 
 u 
 
 up 
 
 u 
 
 3. 
 
 Italian 
 
 a a 1ms 
 
 • • 
 
 a 
 
 
 
 
 
 
 4. 
 
 broad 
 
 a a 11 
 
 A 
 
 a 
 
 14. 
 
 long 
 
 00 
 
 ooz e 6 
 
 5. 
 
 intermediate 
 
 a a sk 
 
 1 
 a 
 
 15. 
 
 short 
 
 00 
 
 look 
 
 U 
 
 6. 
 
 long 
 
 e e ve 
 
 e 
 
 16. 
 
 
 oi 
 
 oi 1 
 
 b\ 
 
 7. 
 
 short 
 
 6 elk 
 
 g 
 
 17. 
 
 
 ou 
 
 ou t 
 
 ■ • A 
 
 oa 
 
 8. 
 
 long 
 
 1 i ce 
 
 T 
 
 18. 
 
 
 a 
 
 f ar e 
 
 a 
 
 9. 
 
 short 
 
 I in 
 
 I 
 
 19. 
 
 
 e 
 
 er se 
 
 
 10. 
 
 long 
 
 old 
 
 o 
 
 20. 
 
 
 
 or b 
 
 
 11. 
 
 short 
 
 Con 
 
 
 
 21. 
 
 
 a 
 
 ur n 
 
 U 
 

 1 . 
 
 34 
 
 VOICE PHOOUCTION. 
 
 BREATH SOUNDS. 
 
 1. 
 
 f an. 
 
 4. p in. 
 
 7. 
 
 wh en. 
 
 2. 
 
 h at. 
 
 6. s un. 
 
 8. 
 
 sh am. 
 
 3. 
 
 k id. 
 
 6. t an. 
 10. wh en. 
 
 UNION SOUNDS 
 
 9. 
 
 th in. 
 
 1. 
 
 b oy. 
 
 6. m an. 
 
 11. 
 
 y oke. 
 
 
 
 (1 ay. 
 
 7. n ot. 
 
 12. 
 
 z one. 
 
 3. 
 
 go- 
 
 8. r oam. 
 
 13. 
 
 a z ure. 
 
 4. 
 
 j udge. 
 
 9. V an. 
 
 14. 
 
 til an. 
 
 5. 
 
 1 ove. 
 
 10. w 0. 
 
 15. 
 
 so ng. 
 
 In order to secure finish in articulation, the preced- 
 ing table of elementary sounds must be mastered, so 
 that every sound can be pronounced distinctly and 
 correctly. The correct sound in each instance should 
 first be sought, and when this is attained, persistent 
 practice will secure facility. He who will be correct 
 will have to bear for a time with public criticism ; ho 
 will appear affected, but this appearance will gradually 
 wear off as he acquires the ability to enunciate with 
 ease. In the study of the preceding table, each key- 
 word should be pronounced clearly and distinctly ; 
 then it should • be pronounced slowl}^ the utterance 
 being prolonged to bring out each sound fully, giving 
 the ear time to catch the sound ; and finally the sound 
 of the separate letter should be articulated alone. 
 
 Great care should be exercised, in order that the ear 
 
 ,^ il^S! 
 
VOICE PRODUCTION. 
 
 35 
 
 may become acute. Good articulation depends as much 
 upon the acuteness of the ear, as upon the organs 
 which make the sound, or the moulds which form the 
 tone. Those who can have recourse to Shoemaker's 
 " Practical Elocution," pages eighty-two and three, >vill 
 find much valuable help in the study of this table. 
 The aid of an orthcepist or a skilled teacher of elocu- 
 tion should be secured, until each sound can be articu- 
 lated correctly. In this, as in every other department 
 of study, not he who has most natural ability, but he 
 who has the most perseverance, generally succeeds. 
 Great attainments in this, as in every other art, mean 
 time and close application. 
 
 Pronounce carefully, first the key, then the words in 
 the following list : — 
 
 Ish, 
 
 filch. 
 
 rchst, 
 
 search'st. 
 
 Ipst, 
 
 help'st. 
 
 dths, 
 
 widths. 
 
 bat, 
 
 rob'st. 
 
 gist. 
 
 struggl'st 
 
 Itst, 
 
 melt'st. 
 
 Ipst, 
 
 scalp'st. 
 
 mf, 
 
 nymph. 
 
 rndst. 
 
 burn'd'st. 
 
 Icht, 
 
 filched. 
 
 nkst, 
 
 think'st. 
 
 bdst, 
 
 rob'dst. 
 
 ftst, 
 
 waft'st. 
 
 mtz, 
 
 attempts. 
 
 Ifths, 
 
 twelfths. 
 
 thnd'st, 
 
 length'n'dst. 
 
 pndst, 
 
 open'dst. 
 
 Imd, 
 
 whelm 'd. 
 
 jdst, 
 
 rag'dst. 
 
 Imst, 
 
 film'st. 
 
 ngths, 
 
 lengths. 
 
36 
 
 VOICE PRODUCTION. 
 
 !i! 
 
 rchtst, 
 
 search'd'at. 
 
 mist, 
 
 harm'st. 
 
 rktst, 
 
 lurk'dst. 
 
 dndst, 
 
 hard'n'dst. 
 
 ntst, 
 
 want'st. 
 
 zlst. 
 
 dazzl'st. 
 
 gdst, 
 
 hagg'dst. 
 
 kndst, 
 
 black'n'dst 
 
 rmdst, 
 
 liarm'dst. 
 
 znst. 
 
 reason'st. 
 
 rkst, 
 
 mark'st. 
 
 rlst. 
 
 hurl'st. 
 
 Idst, 
 
 hold'st. 
 
 kldst. 
 
 huckl'dst. 
 
 nths, 
 
 months. 
 
 thdst, 
 
 sheatli'dst. 
 
 vdst, 
 
 lov'dst. 
 
 rjst, 
 
 enlarg'st. 
 
 rvdst, 
 
 curv'dst. 
 
 rptst, 
 
 harp'dst. 
 
 Ikst, 
 
 milk'st. 
 
 nitst, 
 
 prompt'st. 
 
 rtst, 
 
 hurt'st. 
 
 tldst, 
 
 settl'dst. 
 
 rldst, 
 
 hurl'd'st. 
 
 thnst, 
 
 length'n'st. 
 
 Iptst, 
 
 help'dst. 
 
 ndst, 
 
 bend'st. 
 
 vlst, 
 
 driv'lst. 
 
 pldst, 
 
 rippl'dst. 
 
 rbdst, 
 
 curb'dst. 
 
 fnst, 
 
 deaf'nst. 
 
 mdst, 
 
 doom'dst. 
 
 ntst, 
 
 want'st. 
 
 gldst, 
 
 struggl'dst. 
 
 ngdst, 
 
 hangd'st. 
 
 rnst, 
 
 learn'st. 
 
 zndst. 
 
 reas'n'dst. 
 
 fndst, 
 
 deaf'n'dst. 
 
 flst, 
 
 trifl'st. 
 
 zdst. 
 
 daz'dst. 
 
 ngkst, 
 
 think'st. 
 
 fldst, 
 
 trifl'dst. 
 
 vldst. 
 
 driv'l'dst. 
 
 mptst. 
 
 thumpt'st. 
 
 rdst, 
 
 gird'st. 
 
 When the preceding list of words can be articulated 
 clearly and correctly with ease, all other difficult words 
 can readily be mastered. 
 
VOICE PRODUCTION. 
 
 87 
 
 POSITION. 
 
 By position is meant the pose of the body when 
 reading or speaking, and in breathing and vocal exer- 
 cises. The head must be erect, in order to secure a 
 healthy, graceful carriage; the shoulders and arms 
 should be held back enough to open the chest ; the feet 
 should be a little apart, and at an angle not quite so 
 broad as a right angle. The position of the body 
 should be erect and firm, but not rigid. This position 
 should be sought in private exercises, and be so 
 thoroughly mastered that it v^rill be perfectly natural 
 to appear before an audience in this form. The first 
 appearance upon a platform generally makes an im- 
 pression upon an audience, which is very difficult to 
 counteract. If the appearance creates a favorable 
 impression, it will arrest the critical spirit of an audi- 
 ence, and enable them to look over many deficiencies 
 in language and speech ; but if the first impression is 
 unfavorable, it will take a masterly rendition to secure 
 their favor and sympathy. When producing tone, an 
 erect position cannot be dispensed with ; the larynx 
 must be in its natural position, directly over the wind- 
 pipe, otherwise the sound will be impeded, and the 
 tone will be throaty. When a manuscript is used, the 
 desk should be high enough to allow an erect attitude, 
 so that the vocal organs will be in a natural position. 
 
38 
 
 VOICE PRODUCTION. 
 
 When the position is unnatural, the organs used in 
 producing tone arc strained, and being then vigorously 
 used, they lose their flexibility and power. 
 
 lit 
 
 
 > f'i 
 
 PURE TONE. 
 
 The simple, pure tone of voice is the basis for the 
 full, rounded, orotund, and its attainment is the first 
 thing to be achieved, as it is the natural starting-point 
 in voice-building. Here all faults and impediments 
 connected with the use of the voice must be overcome, 
 and its proper use permanently established. All sub- 
 sequent culture will depend on knowing how to pro- 
 duce a pure tone. A pure tone, which can be produced 
 with perfect ease, should be sought and fully attained, 
 before any effort is made to increase the volume. 
 
 Observe the following rules for producing pure tone. 
 Commence by articulating, a. 
 
 First. — The mouth should be opened wide ; the 
 lower jaw should be protruded; the muscles of the throat 
 should be so relaxed that the toi^e will flow naturally, 
 with ease, without any friction, and be at once smooth 
 and pure. 
 
 Second. — This sound should be articulated in this 
 easy, smooth way, without any breath from the lungs ; 
 the larynx will contain air enough for the purpose if 
 properly utilized. 
 
VOICE PRODUCTIOX. 
 
 39 
 
 Third.— The first effort should be to secure ease; the 
 voice should not be raised much above a whisper ; 
 perfect control of the breath should be held, and as 
 little as possible expended. 
 
 Fom^ik— This effort should not be made in a care- 
 less manner, but the greatest care should be exercised; 
 the ear should be kept attentive in order that it may 
 become acute, and be able readily to distinguish be- 
 tween pure and impure tones. Purity of voice, like 
 purity of character, is the crowning excellence. It is 
 more than power or any other attribute. " Simple 
 pure voice is used in simple narration, plain descrip- 
 tion, and the great field of unemotional language." 
 
 Examples for practice with the simple pure tone 
 of voice : 
 
 "Eternity!— thou pleasing,— dreadful thought 1 
 Through what variety of untried being, 
 Through what new scenes and changes must we pass 1 
 The wide, the unbounded prospect lies before me ; 
 But shadows, clouds and darkness, rest upon it." 
 
 — Addison, 
 
 « Though I speak with the tongues of men and of angels, 
 and have°not charity, I am become as sounding brass, or a 
 tinkling c)mha\:'—Blble. 
 
 4 
 
Ill 
 
 40 
 
 VOICE PRODUCTION. 
 
 " She thanked me, 
 And l)ade me, if I had a friend that loved her, 
 1 should but teach him how to tell my story, 
 And that would woo her. On this hint I spake ; 
 She loved me for the dangers I had passed ; 
 And I loved her that she did pity them. 
 This is the only witchcraft which I've used." 
 
 — Shakespeare. 
 
 " sweet and strange it seems to me, that ere this day is 
 
 done, 
 
 The voice that now is speaking may be beyond the sun — 
 
 Forever and forever, — all in a blessed home — 
 
 And there to wait a little while, till you and Effie come — 
 
 To lie within the light of God, as I lie upon your breast — 
 
 And the wicked cease from troubling, and the weary are 
 
 at rest." 
 
 — Tennyson. 
 
 " Merrily swinging on brier and weed, 
 Near to the nest of his little dame. 
 Over the mountain-side or mead, 
 
 Robert of Lincoln is telling his name." 
 
 — William Cullen Bryant. 
 
 "And there shill be no night there; and they need no 
 candle, neither light of the sun ; for the Lord God giveth 
 them light : and they shall reign for ever and ever." — Bible. 
 
VOICE PRODUCTION. 
 
 41 
 
 "The Lord is my shepherd; I shall not want. He 
 maketh me to lie down in §reen pastures : He leadeth me 
 beside the still waters. He restoreth my soul : He leadeth 
 me in the paths of righteousness for His name's sake. Yea, 
 though I walk through the valley of the shadow of death, 
 I will fear no evil : for Thou art with me ; Thy rod and 
 Thy staff they comfort me. Thou preparest a table before 
 me in the presence of mine enemies : Thou anointest my 
 head with oil ; my cup runneth over. Surely goodness and 
 mercy shall follow me all the days of my life : and I will 
 dwell in the house of the Lord iorever"— Bible 
 
 " OROTUND. 
 
 This tone differs from the simple pure only in 
 volume and muscular force ; the organs of speech are 
 more vigorously used, muscular and diaphragmatic 
 energy being brought to bear upon them. The differ- 
 ence, therefore, between the two tones is largely that 
 of muscular force. According as the tone increases in 
 volume, there will consequently be an enlargement of 
 the cavities of the pharynx and larynx, and each of 
 these organs should retain its flexibility. The orotund 
 is not necessarily deeper than the simple, pure tone of 
 voice, but there is a large increase in the volume of 
 the voice. The orotund is the highest character of 
 human utterance, when fully developed and beautified 
 
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 VOICE PRODUCTION. 
 
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 with an artistic finish. "It combines the two great 
 essentials of perfect speech, purity and power, and 
 unites in its production the highest purpose of mind 
 and the best condition of body." This tone of voica is 
 clear, rounded, melodious, and has a muscular ring. 
 In building up the orotund voice the organs of speech 
 are used just as when producing the simple pure tone 
 of voice. The volume of the voice is increased by 
 muscular force, and especially by the power of the 
 diaphragm being brought to bear upon the proper 
 action of the organs of speech. A voice thus trained 
 and beautified will have a musical flow, which 
 will be at once clear, pure, and melodious, and per- 
 fectly free from friction. A voice is not necessarily 
 strong because it is loud. There are two kinds of loud 
 voice, says Delsarte: " A vocally loud voice" is vul- 
 gar, offensive, impure, and grates upon the ear. "A 
 dynamically loud voice" is powerful, musical, and has 
 a muscular ring ; it brings out all the beauty, force 
 and povrer of sentiment, and thrills the soul like a ma- 
 jestic organ. The voice should be such, that things 
 which are said quitely would sing themselves into 
 utterance, captivating the affections and swaying the 
 passions of men. He who would move others must, 
 by patient toil, beautify his voice and obtain such con- 
 trol over all the organs of speech, that he can, at will, 
 
VOICE PRODUCTION. 
 
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 throw his whole soul into the sentiment and send it 
 home with all the dynamical force of his being. For 
 its greatest possible perfection in utterance, every tone 
 requires a certain quantity of breath. This* quantity 
 cannot be diminished without impairing the strength 
 of the tone ; nor can it be increased without marring 
 the quality of the voice. Voice is the bridge by which 
 soul reaches soul. 
 
 Examples for practice with the orotund voice : 
 
 " Build mp straight, worthy master ! 
 
 Staunch and strong a goodly vessel, 
 
 That shall laugh at all disaster. 
 
 And with wave and whirlwind wrestle ! " 
 
 — Lonpfellow. 
 
 " Roll on thou deep and dark blue ocean, roll." 
 
 " Then the earth shook and trembled ; the foundations 
 also of the hills moved and were shaken, because He was 
 wroth. There went up a smoke out of His nostrils, and 
 fire out of His mouth devoured ; coals were kindled by it. 
 He bowed the heavens also, and came down ; and darkness 
 was under His feet." — Bible. 
 
 " And, sir, where American liberty raised its first voice, 
 and where its youth was nurtured and sustained, there it 
 still lives, in the strength of its manhood and full of its 
 original spirit." — Webster, 
 
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 VOICE PRODUCTION. 
 
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 ** Hear the tolling of the bells — iron bells ! 
 What a world of solemn thought their monody compels! 
 In the silence of the night, 
 , How we shiver with affright 
 At the melancholy menace of their tone. 
 For every sound that floats 
 From the rust within their throats 
 
 Is a groan." — Poe. 
 
 Portia. — **The quality of mercy is not strained; 
 
 It droppeth as the gentle rain from heaven 
 
 Upon the place beneath ; it is twice blessed ; 
 
 It blesseth him that gives, and him that takes. 
 
 'Tis mightiest in the mightiest. It becomes 
 
 The throned monarch better than his crown ; 
 
 His sceptre shows the force of temporal power, 
 
 The attribute to awe and majesty. 
 
 Wherein doth sit the dread and fear of kings : 
 
 But mercy is above this sceptered sway ; 
 
 It is enthroned in the hearts of kings : 
 
 It is an attribute of God himself: 
 
 And earthly power doth then show likest God's 
 
 When mercy seasons justice." 
 
 — Shakespeare. 
 
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 Then shook the hills with thunder riven ; 
 Then rushed the steeds to battle driven, 
 And louder than the bolts of heaven, 
 Far flashed the red artillery." 
 
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VOICE PRODUCTION. 
 
 45 
 
 "Were I an American, as I am an Englishman, while a 
 single foreign troop remained in my country, I would never 
 lay down my arms. Never ! Never ! Never ! " — Pitt. 
 
 " Thy right hand, O Lord, is become glorious in power : 
 Thy right hand, O Lord, hath dashed in pieces the enemy, 
 and in the greatness of Thine excellency Thou hast over- 
 thrown them that rose up against Thee : Thou sendest 
 forth Thy wrath which consumed them as stubble. And 
 with the blast of Thy nostrils the waters were gathered 
 together; the floods stood upright as an heap, and the 
 depths were congealed in the heart of the sea." — Bible. 
 
 [A few years ago, Mr. Landon C. Haynes died in Tennessee. 
 Prior to his death he attended a dinner given by members of the 
 bar at Jackson, Miss. Before the guests left the table, General 
 Forrest, the Confederate cavalry leader, said : "I propose the 
 health of Col. Landon C. Haynes, of East Tennessee, the country 
 sometimes called " God-forsaken." Mr. Haynes replied :] 
 
 ♦* Mr. Chairman and Gentlemen, — I plead guilty to the 
 soft impeachment. I was born in East Tennessee, on the 
 banks of the Watanga, which, in Indian vernacular, is 
 ' beautiful river,' and a beautiful river it is. I have stood 
 upon its banks in my childhood and looked down through 
 its glassy waters, and have seen a heaven below, and then 
 looked up and beheld a heaven above, reflecting like two 
 mirrors, each in the other, its moons, and its planets, and 
 its trembling stars. Away from its banks of rocks and 
 clifis, hemlock and laurel, pine and cedar, stretches a vale 
 
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 VOICE PRODUCTION. 
 
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 back to the distant mountains, as beautiful and exquisite as 
 any in Italy or Sv^itzerland. There stands the great 
 Unicorn, the great Roan, the great Black, and the great 
 Smoky Mountains, among the loftiest in the United States 
 of Nor^.h America, on whose summits the clouds gather of 
 their own accord on the brightest day. There I've seen the 
 great spirit of the storm, after noontide, go take his nap in 
 the pavilion of darkness and of clouds. I have then seen 
 him arise at midnight as a giant refreshed with slumber, 
 and cover the heavens with gloom and darkness ; I have 
 seen him awake the tempest, and let loose the red light- 
 nings that run among the mountain tops for a thousand 
 miles swifter than an angel's flight in heaven. Then I have 
 seen them stand up and dance like angels of light in the 
 clouds to the music of that grand organ of nature, whose 
 keys seem touched by the fingers of Divinity in the hall 
 of eternity, that responded in notes of thunder, which re- 
 sounded through the universe. Then I've seen the darkness 
 drift away beyond the horizon, and the morn get up from 
 her saff*ron bed, like a queen, put on her robes of light, come 
 forth from her palace in the sun, and stand up tip-toe on 
 the misty mountain top, and while night fled from before 
 her glorious face to his bed-chamber at the pole, she lighted 
 the green vale and beautiful river, where I was born and 
 played in my childhood, with a smile of sunshine. O, beau- 
 tiful land of the mountains, with the sun-paii od cliff, how 
 can I ever forget thee 1 " — Landon C. Haynes. 
 
 
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