THE SPEAKER. LESSON I. VOCAL CULTURE. NOTE. It is well for the pupil to begin this study by having explained to him the organs of vocalization. But it is still more important for him to understand that a thorough culture of the voice involves a daily practice of the exercises indicated in these first two chapters, continued. through months and years. For the first few weeks, until the muscles of the diaphragm and throat can be expanded and contracted with the sound at will, only the elementary exercises should be attempted. Later, the more advanced exercises may be used. For these reasons, with classes, especially of younger pupils, it may be best to begin instruction with the third lesson. § 1. Preliminary Exercises. Time for Vocal Practice. - Begin from one to five hours after eating, and practise from fifteen to thirty minutes. I. If any one exercise fatigues or irritates the organs, pass on to another. II. If out of practice, go over the exercises daily for three or four days before public speaking. a. Alternating Passive and Active Chest. Without breathing or moving shoulders, repeatedly lift the chest from that which is its ordinary (passive) condition, to the slightly raised and expanded (active) condition in which the shoulders seem to be back and down. When practising the vocal exercises, always hold the chest in this active position. b. Waist Movements. Bend the body backward and forward, from side to side, and, without moving the hips, twist it, i.e., turn shoulders from side to side. c. Arm Movements. - After acquiring the mode of breathing (see § 3) I. Do the following, all slowly and gently: While filling the chest, lift the arms (without bending elbows) outward till the two together form a straight line parallel to the floor. When chest is filled, strike it gently with the hands; alternately move the arms slowly about the chest upward and downward, and backward and forward; hold the arms up, and, bending the elbows, alternately elevate the hands and touch the cheeks with the backs of the fingers. II. Do the following vigorously: Draw back the elbows with hands near the shoulders, fists clinched and palms up; take and hold a full breath; push forward the hands, on a line level with the shoulders, at the same time unclasping the fingers; then, keeping the arms as near to the sides as possible, so as not to strain the lungs, and clinching the fingers, draw the fists against the shoulders and as far back as you can. Place each fist near its own shoulder, fill lungs, and, keeping the elbows near the body, touch them in front, and behind if you can. d. Neck Movements. Bend the head backward and forward, from side to side, and twist it. § 2. The Organs of Vocal Expression may be considered as divided into four classes: a. The Motor, causing the vibration of b. The Essential organ, productive of sound, this sound being modified by c. The organs of Intensification and d. Articulation. § 3. To the first class, the Motor, belong the organs of respiration, the lungs and bronchial tubes and the muscles of the diaphragm and ribs surrounding them. (See Plate I. page 2.) a. Under the breathing and over the digestive organs, separating the two, is the diaphragm, the muscles of which are so formed as to act in the lungs like a piston in a pump's cylinder. These are the only muscles in the body so made and placed as to draw into the lungs all the air possible; or to force it out of them in such a way as to produce the most powerful and effective sounds. When this diaphragm sinks, to draw in the air, it crowds down the abdomen and pushes it outward. When the diaphragm rises, to force out the air, it contracts and draws in the abdomen. Babes and strong men breathe and speak thus, naturally. Weak persons, and those who sit or stoop much, acquire a habit of using mainly the muscles of the upper chest, the lifting of which, in order to inhale, draws the abdo |