vocal technic 00 fox a
TRANSCRIPT
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Vocal
Technic
BY
ANCELLA
M.
FOX
(MRS. O.
L.
FOX)
%ffi
$2.00
NET
*
GAMBLE
HINGED
MUSIC
CO.
PUBLISHERS
CHICAGO
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HAROLD
B. LEE
LIBRARY
BRiGHAM
YOUNG
DIVERSITY
Pi3OV0, UTAH
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8/19/2019 Vocal Technic 00 Fox A
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Digitized
by
the Internet
Archive
in 2012 with
funding
from
Brigham
Young
University
http://archive.org/details/vocaltechnicOOfoxa
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US'
V
U3y
—
m.
m
^
(MRS.O.L.FOX)
Published
by
Gamble Hinged
Music
Co.
Chicago
-
8/19/2019 Vocal Technic 00 Fox A
6/96
To
my
Pupils,
whose
loyalty
has
been
an
inspiration
HAROLD
B.
LEE
LIBRARY
8RIQHAM YOUNG
UNIVERSITY
PROVO, UTAH
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7/96
PREFACE
3
In
publishing*
these exercises I do
so
at
the
earnest
solicitation
of my
pupils who
have
become
teachers.
They
are
gTaded and
progressive
3 and
being*
the result of my
long* experience
as a
vocal teacher
in
the
Chicag*o
Musical
College, offer
them
with
confidence.
EXPLANATIONS
AND
SUGGESTIONS
An o
placed
over
a
note
is a sign
for opening*
the tone.
M
is
the
sig-n
for
humming*.
It
gives
location
to the
tone
and
places
it
near the
enunciating*
org*ans
(lips and tongue).
All
voices
must
be focused for
timbre. Care
should be
taken however,
not
to
lose
the
mel-
low
quality so desirable.
The
first
principle
of g*ood
singing* is
throat re-
laxation.
To
g*ain this
the mind must be
di-
rected
to the point
of delivery—
the
lips. Much
throat
contraction
is
caused
by
the false
idea
that
singing*
is
a
throat action,
while it
is
really
a
mouth
action,
like
speaking*.
Too
much breath
ruins the
voice.
There
is
usually enougti in
reserve,
and
it
only
needs
to
be
used
judiciously.
The simple
gripping*
of
the
diaphram
gives
ex-
cellent
support
to the
upper
voice arid
little
is
needed
in
the medium
A
proper
control of the
diaphram
prevents forc-
ing*,
and
is the
whole
secret
of g*ood breathing-
in singing*.
Head
tones
become small and thin
if
placed too
hig*h.
Consider
them
as
an
opening*-out
of
the
a
medium
and
as coming* forward
and over
.
All
tones
have
a
curve
from the preceding*
tone
in
passing* up
or down the
scale.
In singing* the
octaves,the pupil should
haveathought
of distance.
The upper
note
is
to travel,
and
if
it
reaches its proper
destination
must do
so men-
tally^
well
as vocally.
All action
of a
muscular
nature must stop
at the
chest— not extend
to the throat. Ease in
singing*
can
only be
acquired by
physical ease.
The
art of
singing
is
the ease of it.
Scale
practice is the
backbone
of vocalization. It
blends the
registers,gives
flexibility
and
perfect
poise.
Scales
should never
be
practised
with
full voice.
A g*ood
medium is
better
and at
times
a
sotto
voce
I
have
g*iven
metronome
marks,
which
are never
slow. My
experience
has taug*ht me
that
scales
must
be
practised with some
degree
of
velocity to
be
of
value in acquiring* flex-
ibility.
Always
sing*
legato
;
with
accent,and in
perfect tempo.
Divide all
long* scale-passag*es
into groups; do
not
sing*
as
a
whole,
otherwise
the top and
bottom g-et
alHhe
attention,to
the negiect of
the center.
When
grouped
and sung*
in
perfect
tempoythe
~the scale
becomes
even.
I
would sug*g*est
that the scale
be
played
with
the
pupil until
some
smoothness
and
rhythmic
sense
has
been
acquired.
This is
also
my
rule
with
the Trill.
Pianissimo
tones
are not
suppressed
tones,
but
singing*
without power.
The
voice must
be
well
under
control
before extreme
soft singing*
should
be
attempted.
Extend
th
e
rflngr
ft
jwhile_the
v
oice
is
young*.
Ag*e
fills
and matures
quality, and
the
voice is
not eas-
ily extended
after
having* matured.
Breadth
of
tone is
never
g*ained
by
force.
Pushing*
the
voice ruins it.
Never
sing*
a
head tone
without a rigid
diaphragm.
The
position of
the
mouth
is
very
important.All
stiffness should
be avoided. Take
the
position
with
the
tone, and not
before.
From C to G
above,
for soprano
and
tenor {A to
E
for
alto and baritone)
let
the mouth
be rounded-
not over-
wide
in
the
medium dropping* the
jaw
for
enlarging*
the
tone.
Passing*
above
G, the
mouth gradually spreads at the
corners,
and
in
the
extreme
rang*e becomes very wide.
All vowels
should
be
used
in
practice,
but
a
e*and^o
,,
have
most
value
in voice placing*—
a
o for
thin
quality,
and e for
that
which
is
sombre and
throaty. For contralto
and male
voices
a
e is
especially
g*ood.
This
vowel
will
be
sung*
with
more ease
if the
jaw is
relaxed or dropped.
Stand still
.
Repose
adds to personal
attraction
and
should
be cultivated.
• ••••••
These are a
few g*eneral, practical
rules which,
with
the
exercises,
I
trust
will
be of value
to
those
seeking*
the
best
results
in voice
pro
-
duction.
Blank
pag*es
have
been
added
for
special
exer-
cises
to
be
given
by the teacher
for
the par-
ticular
needs of
each
pupil.
ANCELLA
M.
FOX.
200-83*-
G.H.M.Co.
-
8/19/2019 Vocal Technic 00 Fox A
8/96
Exercises for
Placing
the
Voice
For alto voice
transpose
to
A
below.
M
stands
for
humming,
with closed
lips
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Copyright
1912
by the
Gamble
Hinged
Music
Co.,
Chicago
International
copyright
secured.
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Appendix
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