THE CHAPTER IV. OF 1. CULTIVATION OF THE VOICE. HE speaking or reading voice is capable of improvement in the same proportion as the singing voice; and we can all appreciate the degree of excellence attained by our "prime donne," our tenors and bassos. We may also compare the same voice in its uncultivated state with the pitch of perfection to which culture has brought it, and involuntarily exclaim with the poet: "This was beautiful, but this is Beauty; this was strong, but this is Strength; this was perfect, this is Perfection." To express the various emotions, the contrasts frequently portrayed in a poem, to read a character from a play, or to personate in one reading or recitation several characters, requires a command of tones, a pliancy of voice, seldom in the power of those who have daily practice only on the limited range of notes, called into play by the every day interchange of thought, the question and the answer of ordinary life; and these can be attained only by the most careful and comprehensive vocal culture, in accordance with principles which we shall try to make plain in the progress of this book. To cultivate the voice we must acquire- 1. Flexibility, which consists of a smooth and easy gliding from one note to another. 2. A good "range 66 or compass," so that the voice may with ease run up to a very high note, or take, without effort or straining, a very deep, round, resonant tone. 3. An improved quality of voice, which can only be obtained through culture. In the exercises which follow, all the practice that is necessary for the acquirement of these objects can be obtained; but they must be faithfully studied and practised—no merely theoretical knowledge is of the slightest service here. The various illustrative passages are selected on the following principles, which must be borne in mind in order to understand this and the immediately succeeding lessons: 1. When practice is desired on a "scale" in which the voice may slide though a whole tone to the next in order, lines are chosen in which the quantity is capable of indefinite prolongation-a vowel, or vowels, being contained in each syllable. 2. To compel the voice to rise by "steps" instead of the gliding movement, lines are selected for the predominance of their sounding consonants. 3. For practice on the "semitonic" movement, lines in which the sentiments of regret, pity, or grief are predominant, will be best adapted for giving us power and ease in the expression of those emotions. FIRST SCALE. The first scale is for practice on whole notes; the "range" neither so high nor so low that beginners will find difficulty in taking it. Claudio. Is this the monument of Leonato ? Attendant. It is, my lord. Claud. (Reads from a scroll.) Done to death by slanderous tongues, Was the Hero that here lies: Death, in guerdon of her wrongs So the life that died with shame, Praising her when I am dumb. (affixing it) -Much Ado about Nothing. Commencing where Claudio reads from a scroll, "Done to death," recite those three words on a high brilliant key on one tone. Then throwing the voice quite five tones lower, pronounce the same words again, in fuller, rounder tones; then, throwing the voice as low as possible, beginning with the word "Done," rise gradually until the word "dies" has been pronounced; give the word "So" on the same "tone," then gradually descend. As in the harp the vibrations are more numerous on the shorter strings, fewer and longer on the longer strings, in the "speaking voice" there is greater acuteness and more vibrations on the higher tones, and greater gravity and fewer vibrations on the lower tones. The following arrangement will assist the pupil in the practice of this scale: Bear in mind that the voice is not to be unnaturally strained. After sufficient practice the voice may be able to rise or fall only the fourth of a tone above or below what was formerly its power; yet that is something gained, and must be acquired by long practice, never by forcing. There are some defects in the practice of scales, into |