Vocalising

VOICE
 Vocalising - Lung Control Place the fingertips just below the ribs so that attention may be directed towards control of the diaphragm. Do the two excercises below daily with a break of a couple of minutes between first and second. Part A. The idea is to gain control of an out-breath so it comes out evenly and powerfully over a measured amount of rather than all in a sudden rush then feebley.


 * To gain control of the breathe it is useful to be able to be heard, seen, or felt.


 * A whispered HAAAA allows the exhalation to be heard.


 * Breathing onto a cold window pane allows the breath to be seen.


 * Breathing into ones cupped hand, as when smelling ones own breath allows it to be felt.

Using any of the above techniques. Keep strength in the out-breath for a count of 10. Strength means gaining control so that a steady volume of air leaves the lungs. Repeat cycle for five minutes. (Front and back of the torso may be imagined as two flat boards that move together to expell the air as in a bellows)

Part B. Repeat above using a steady HISSSS instead of HAAAAH. Check lips, jaw, and throat; Are they all as relaxed as possible? Keep this more restricted exhalation coming out steadily for a mental count of 15. Continue cycle for five minutes. See also Breathing Exercises

 Vocalising - Throat Relaxation It is physiologically necessary to relax the throat in the process of yawning.


 * Sit in front of the mirror.


 * Make a yawn. A true yawn can often be induced by relaxing and making a couple of deep breaths; but if doesn't come imitate one. Notice how the mouth and throat are wide open. Whilst still yawning, close the eyes and take note of the feel of the concave tongue and arched palate that occur whilst yawning.


 * Relax, finish the yawn. Then, with eyes still closed, reproduce the same curved tongue and arched palate with muscle action only.


 * Open eyes and check in mirror.

Run though this excercise for a set period each day until the reproduction of the yawning pattern is assured.

 Vocalising -Tongue Articulation The tongue is a most complex muscular organ with more muscles in its small space than any other part of the body.

Whistling is one of the best methods of developing tongue control. If you have a regular walk outside everyday resolve to whistle a complete tune each time you go out. If you don't have such a regular open air promenade make sure you include whistling in your weekly singing session.

T, D, J, L, N, a~e letters which primarily use the tip of the tongue. Try some fast permutations of the following tongue-tip block then devise one of your own.


 * T -   D  -   J  -   L  -   N


 * D -   J   -   L   -  N   -  T


 * J  -  L  -   N   -  T  -   D


 * L  -  N   -  T   -  D  -   J


 * N -   T  -   D  -   J  -   L

The hard C, K and Q are letters using the back of the tongue. Try some fast repetitions of the phrase below and theh make up one of your own.

Kitty the jocular Cock-a-too.

 Vocalising - Roof Arch The behaviour of the roof arch is controlled by a pair of muscles in the soft palate called the' Pillars of Fauces'.,To gain control of these muscles;

Making the round 'ING' brings the palate and tongue together. 'AH' shoots them apart. Repeating the two sounds 'ING_AH!' vigourously excercises the soft palate.

These may be repeated furiously for a minute or two in the manner of a mantra; or you can construct a sort of sound poem using these sounds. e.g.


 * TING AH... 	 LING AH...


 * TING AH... 	 LING AH...


 * TING YAH... 	FING AH...


 * FING AH... 	 FING AH...


 * TING YAH... 	FING AH...


 * TING AH...	 LING AH...

 Vocalising - Lips Gape, pout and grin


 * Go on do it!


 * Ah... 000... Eee...


 * Yoo.. Ah. . . Yoo... See...


 * You are, You see.

Make a fierce muscular pout. Then draw back the lips tensely to bare the teeth; from there open the mouth as fully as possible, poking the tongue out and curving it down to touch the chin. From this full gape gather the lips slowly and stiffly inward, and oniy when they are firmly pursed, push them out into the origional pout.

When all else is said and done and practised it is the expression of the mouth that will do most to make our speech vivid and give us an alive face that will attract the attention we need to be brilliant.

''' Vocalising AHHH..! AHHH...''' This sound is the fundemental of speech and is an important vowel in our language.

Open the mouth as if to yawn, simultaneously inhaling. Let a relaxed, resonant loud 'ARHHH' sound glide out. Repeat several times, letting each one become longer, louder and deeper than the one before. Do this by increased relaxation.

Once you've got the hang of a really uninhibited AHHH ! try releasing the other five vowels with the same lack of restraint. ( U = 00 )


 * A...
 * E...
 * I...
 * 0...
 * U...

Now to progressively group the vowel sounds in twos, then in threes, and finally altogether.


 * AH...  A...   E...   I...   0...   U...


 * AH___A...  E___I...   0___U...


 * AH___A___E...  I___O___U...


 * AH___A___E___I___O___U...

Then try the following permutations;


 * U -  0 -   I  -  E  -  A  -  AH


 * I  -  U  -  O -  AH - E  -  A


 * 0 -  I  -   U  - A  - AH  - E


 * E -  AH - A -  U  -  I   -  0


 * A -  E  - AH - O  - U  -   I


 * AH - A - E  -  I  -  O   -  U

Give each vowel equal presentation.

'Note: It is easy to skip this excercise as too obvious but take care with these simple sounds and utter them well... for they are the basis of all speech.'



 Vocalising Resonance A. Mouth Resonance: Repeat the vowel excercises humming between each vowel intonation... mmmAH... mmmA... mmmE...  mmmI...  mmm6...  mmmU...

B. Nasal Resonance: Repeat the vowel excercises humming with an 'nnn' between each vowel... nnnAH... nnnA... nnnE... nnnI... nnnO... nnnU...

C. Chest Resonance: The hard 'G' suppresses the sound, forcing the resonance down into the chest cavity... Garh...! Gay...J Gee...J Gi...l  Go...! Goo...!


 * Gar Gay Gee...!  Gi Go Goo...!


 * Gar Gay Gee...!  Gi Go Goo...!

In the above excercises it is important to exagerate the resonance and really explore the possibilities of your 'instrument'. Having explored each area of resonance, practice going from one to another.

Make up a poem which takes as its main aural effect a play between these three areas of resonance. Note: Higher humms will resonate in the skull.

 Vocalising - Neck Tension The vocal sounds are produced in the neck region and any tension here will make the voice stilted or limited.


 * To relax chronic tension around the neck area.


 * Let the head hang forward. Feel its weight. Shoulders are fully relaxed completely releasing the head.


 * Using the minimum effort necessary slowly roll it around to the side (count of ten) leave it slumped over sideways for a count of ten before rolling it back (count of ten). Hold for ten. Roll to other side for count of ten. Hold ten. Roll to front for count of ten.

Note: We might simplify this by saying do VERY SLOW neck rolls.



 Not Vocalising or Not Speaking Much seemingly worthless talk often has the useful function of 'getting things off your chest'. However there is still much dull unnecessary prattle.

Although the voice may be the most vivid form of communication it can also be a gate to close off more meaningful non-verbal experience. Let silence speak louder than words.

Be with another person and for a whole morning, afternoon or evening and make a pact not to speak. Don't ignore each other or constantly exchange notes but get on without words.

Later repeat the exercise but this time agreeing to allow only essential communication, things worth saying because they are beautiful in themselves (poetic, melodic etc) or because they bring attention to something worth sharing.

Cut out the dross leaving only worthwhile communication.

'Vocal Postscript: exercises on consonants, percussive sounds or articulation may usefully be added to this section.'