Voices in general need, in the larger development, to be rounded. The vowel forms "oo" as in moon, "o" as in roll, and "a" as in saw, greatly help in giving a rounded form to the general speech; for all vowels can be molded somewhat into the form of these rounder ones. The vowels "e" as in meet, "a" as in late, short "e" as in met, short "a" as in sat, are likely to be made very sharp, thin, and harsh. When a passage for practice begins with round vowels, as for example, "Roll on, thou deep and dark blue ocean, roll!" the somewhat rounded form of the lips, and the opened condition of the throat produced in forming the rounder vowels, can be to some extent maintained through the whole of the passage, in forming all the vowels; and this will give, by repeated practice, a gradually rounded and deepened general character to the voice. On the other hand the thinner, sharper vowels may serve to give keenness and point to tones too thick and dull. In applying these suggestions, as well as all other vocal suggestions, moderation and good sense must be exercised, for the sake of the good outward appearance and the good effect of the speaking. The chief vowel forms running from the deepest to the most shallow are: "oo" as in moon, "o" as in roll, "a" as in saw, "a" as in far, "a" as in say, "e" as in see.
Since the making of tones means practically the shaping of vowels, something should here be said about vowel forms. The mouth opening should of course be freely shaped for the best sounding of the vowels. For the vowel "a" as in far, the mouth is rather fully opened; for "a" as in saw, it is opened deep, that is, the mouth passage is somewhat narrowed, so as to allow increased depth. The vowel "o," as in no, has two forms, the clear open "o," and the "o" somewhat covered by a closer form of the lips, Commonly, when the vowel is prolonged, the initial form, that is the open "o," is held, with the closed form, like "oo" in moon, touched briefly as the tone is finished. So with long "i" (y), as in thy, and "ou," as in thou—the first form is like a broad "a" as in far, with short "i" (sit) ending the "i" (y), and "oo" (moon) ending the "ou." This final sound, though sometimes accentuated for humorous effect, is usually not to be made prominent. The sound of "oi," as in voice, has the main form of "aw" as in saw, and the final form in short "i," as in pin. The vowel "u" is sounded like "oo" (moon) in a few words, as in rule, truth. Generally, it sounds about like "ew" in new or mew. In some of the forms the front of the mouth will be open, in some half open, and in some, as in the case of long "e" (meet), nearly closed. Whatever the degree of opening, the jaw should never be allowed to become stiffly set, nor the tongue nor lips to be held tight, in any degree or way. These faults cause a tightening in the throat, and affect the character of the tone. It will generally be advantage to the tone if the lips are trained to be very slightly protruding, in bell shape, and if the corners of the mouth be not allowed to droop, but be made very slightly to curve upward. The tongue takes of course various positions for different vowels. For our purposes, it may be sufficient to say that it will play its part best if it be not stiffened but is left quite free and elastic, perhaps quite relaxed, and if the tip of it be made to play easily down behind the lower teeth.
Since voice has here been discussed in an objective sort of way, it is fitting to emphasize the importance of what is called naturalness, or more correctly, simplicity. Everybody desires this sort of result. It can readily be seen, however, that about everything we do is a second nature; is done, that is to say, in the acquired, acceptable, conventional way. Voice and speech are largely determined by surrounding influences, and what we come to regard as natural may be only an acquired bad habit, which is, in fact, quite unnatural. Voice should certainly be what we call human. Better it should have some human faults than be smoothed out into negative perfection, without the true ring, the spunk of individuality. There is, nevertheless, a best naturalness, or second nature, and a worst. The object of training is to find the best.
In this discussion of voice some of the ideas often applied to the first steps in the cultivation of singing have been presented, as those most effective also for training in speech. Although, on the surface, singing and speaking are quite different, fundamentally they are the same. Almost all persons have, if they will use it, an ear for musical pitch and tone, and the neglect to cultivate, in early life, the musical hearing and the singing tone is a mistake. To prospective public speakers it is something like a misfortune. The best speakers have had voices that sang in their speaking. This applies distinctly to the speaking, for example, of Wendell Phillips, who is commonly called the most colloquial of our public speakers. It has often been commented on in the case of Gladstone, and applies peculiarly to some of our present-day speakers, who would be called, not orators, but impressive talkers. The meaning is, not of course that speaking should sound like singing, or necessarily like oratory, but that to the trained ear the best speaking has fundamentally the singing conditions, and the voice has singing qualities; and the elementary exercises designed for singing are excellent, in their simpler forms and methods, for the speaking voice. In carrying out this idea in voice training, the selections here given for the earliest exercises, are such as naturally call for some slight approach to the singing tone. Some are in the spirit and style of song or hymn; others are in the form of address to distant auditors, wherein the reciter would call to a distance, or "sing out," as we say. This kind of speaking is a way of quickly "bringing out" the voice. Young students especially are very apt in this, getting the idea at once, though needing, as a rule, special cautions and guidance for keeping the proper vocal conditions, so as to prevent "forcing." The passages are simple in spirit and form. They carry on one dominant feeling, needing little variation of voice. The idea is to render them in a way near to the monotone, that the student may learn to control one tone, so to speak, or to speak nearly in one key, before doing the more varied tones of familiar speech or of complex feeling. We might say the passages are to be read in some degree like the chant; but the chant is likely to bring an excess of head resonance and is too mechanical. The true spirit of the selections is to be given, from the first, but reduced to its very simplest form. Difficulties arise, in this first step, in the case of two classes of student: those who lack sentiment or imagination, or at least the faculty of vocally expressing it, and those with an excess of feeling. The former class have to be mentally awakened; for some motive element, aesthetic appreciation or imaginative purpose, should play a part, as has been said, even in technical vocal training. The latter class must be restrained. Excessive emotion either chokes off expression, or runs away with itself. Calmness, evenness, poise, the easy control that comes from a degree of relaxation, without loss of buoyancy,—these are the conditions for good accomplishment of any kind. This self-mastery the high-strung, ardent spirit must learn, in order to become really strong. This is accomplished, in the case of a nervous temperament, not by tightening up and trying hard, but by relaxing, by letting down. In the use of these passages the voice will be set at first slightly high in pitch, in order to help in keeping a continuous sounding of tone against the roof of the mouth and to a proper degree in the head. This average pitch, or key, or at least the character of the tone, will be maintained without much change, and with special care that the tone be kept up in its place at the ends of lines or sentences, and be kept well fixed on its breath foundation. The simpler inflections indicating the plain meaning, will of course be observed, the tone will be kept easily supported by the frequently recovered breath that is under it. The back of the mouth will seem to be constantly somewhat open. There will be no attempt at special power, but only a free, mellow, flowing tone of moderate strength. In the exercise each voice will be treated, in detail, according to its particular needs, and in each teacher's own way.
At the time of student life, when physical conditions are not matured, the counsel should repeatedly be given, not only that the voice, though used often and regularly, should be used moderately, but also that the voice should be kept youthful—youthful, if it can be, even in age—but especially in youth, whatever the kind of literature used for practice. Also youth should be counseled not to try to make a voice like the voice of some one else, some speaker, or actor, or teacher. It will be much the best if it is just the student's own.
VOCAL FLEXIBILITY
In the earliest exercises here given the tone will be, for the best and most immediate effect, kept running on somewhat in a straight line, so to speak; will have a certain sameness