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BALANCED USE OF THE RESONATORS
The resonators are the hollow cavities above the voice box (larynx), in which the basic note produced by the vocal cords is amplified. The general aim is to achieve the effective use of each cavity (pharynx, mouth and nose) without a predominance of tone from any one resonator. When doing the following exercises it is essential to establish:
Positions of the resonators
1. Good posture, where the head is held easily on top of the shoulders. The chin should be neither thrust forward nor pulled back towards the chest. 2. Good support for the voice from the use of adequate breath. 3. Regular practice of breathing and the following exercises.
EXERCISES
1. Hum any tune gently. Beware of pushing the voice from the throat. Feel for a tickling sensation around the lips. Avoid any sense of strain. Take fairly short phrases, which can be well supported by the breathing. The lips should be lightly held together, with the teeth very slightly apart. 2. Whisper the following vowels. Sustain each sound for a count of six and ensure that there is no rasping in the throat.
3. Repeat 2 but arch the palate at the back of the mouth, as if yawning. 4. Repeat the six sounds imagining each sound is a bubble in the mouth. Blow them out gently on a whisper. Any harsh attack by the voice will burst the bubble. 5. Count up to ten trying to get an echo from the room. Do not 'push' the sound, think of 'drawing' it from the walls and ceiling. Faulty Tone 6. Stand close to a wall and hum on a steady sustained 'M' sound. Gradually move away from the wall thinking of leaving the voice there. 7. Keeping the lips lightly together, but the teeth slightly apart, make a number of 'M' sounds, as if laughing. 8. Say a long 'M' sound as if in response to something pleasant. Repeat this five times, allowing the voice to become louder each time. 9. Intone the following:
10. Intone the following on one continuous note: EE ... OO ... M.M.M.
11. Repeat 10 at various pitches. 12. Intone MOO MOH MAW MAH MAY MEE with the hands cupped round the mouth for M and opening them for the vowel. There should be a sensation that the voice is released. 13. Cup the hands over the ears and say 'Good morning'. There should be a sensation that the voice is outside of the head. Do this at various pitches. 14. Repeat the following sounds several times, keeping the voice on the mask of the face:
15. Place each of the sounds in 14 before these vowels:
16. Whisper the following sentences: Many moaning men making music to the moon. Many merry milkmaids. No never alone. Nineteen noisy gnomes. Singing swinging songs. 17. Intone the sentences in 16, on one note. 18. Speak the sentences, with a variation in pitch. 19. To encourage the movement of the soft palate, keep the mouth open and breathe in through the nose and out through the mouth several times. 20. Count slowly up to ten, first on a whisper, checking that there is no tension in the throat and that the whisper is full, clear and round. Then intone it slowly on one note, like a bell tolling. Finally speak it clearly, imagining the voice on the mask of the face. Routines for the
The following routines are provided to give progressive, general exercise in placing the voice. They could form the nucleus of daily practice, with a change of routine each day to add variety to the daily discipline.
Sustain each of them for a count of six. Ensure that the throat feels free and that there is no 'rasping' in the throat. Repeat this five times. 2. Whisper each sound, imagining that you are inflating a balloon gently and smoothly. The balloon should not inflate in jerks, but expand continuously and smoothly. 3. Breathe out on an OO sound, experiencing and noting the ease with which this is done. Feel for the air passing over the lips and then speak, quietly, 'one, two, three' keeping the sensation of the voice on the lips. Repeat this using the other vowels. 4. Intone, on one note, three short OO sounds followed by an 'M' sound, which should be sustained for a count of six:
OO OO OO MMMMMMMMMMMM OO OO OO MMMMMMMMMMMM.
Repeat this exercise using each of the other vowel sounds to precede the 'M' sounds. Try to think of opening the throat on the vowel sounds and catching the voice on the mask of the face with the humming sound. Repeat this five times. Feel that the voice is placed on the mask of the face and that vibrations can be felt around the lips and nose.
6. Whisper, intone on one note and then speak the following sentences: Mining minerals in mountains. Many military matters mustn't mount.Nanny nodded nonchalantly. Anonymous nonentities. No names may be mentioned.
ROUTINE 2 1. Repeat the following, feeling the release of the voice into the mouth after K and then the vibration in the nose on the NG N and M sounds. Make this sequence of sounds quiet and continuous, feeling for the sensation of the voice moving forwards:
2. On the following sequence whisper the H sound, feeling a yawning sensation in the mouth, and then voice the vowel sounds retaining the yawning sensation. The vowels should sound full and rich:
4. Feel the voice vibrating gently on the lips throughout this exercise:
5. Whisper the following piece, then intone it on one note, concentrating on placing the voice forward in the mask of the face. Finally speak it:
Above, the Gothic arches met, and in the dark blue spaces between them faint gold stars were twinkling. The deep blue of the painted spaces seemed limitless in the dim light of the lamp. Now and then the squeak of a foraging mouse sounded among the canvases. Old Grimes had been breathing heavily; now he raised himself on the bed, and lifting his arms, cried out, 'My masterpiece! Give me brushes, someone!'
Try to give full value to all the M N and NG sounds.
ROUTINE 3
1. Feel a strong, vigorous movement of the soft palate during the repetition of the following sounds. Intone them on one note:
NG ... AH NG ... AH NG ... AH
2. Repeat the following, listening for a continuous humming sound on the three M sounds, but very little passing down the nose on the vowel:
OO ... MMM OH ... MMM AW ... MMM AH ... MMM AY ... MMM EE ... MMM
3. Replace the M sound in exercise 2 with N and repeat. 4. Hum on an M sound before intoning each of these words. Again do it quietly, feeling the vibrations on the lips and the release of the voice on the vowels:
5. Repeat the following sounds, first whispered, then intoned and finally, spoken. In each case sustain the M and N sounds. Listen for the resonance as a continuous humming sound as you say the complete word: many many many many many many many minimal minimal minimal minimal minimal ammonia ammonia ammonia ammonia ammonia nominate nominate nominate nominate nominate 6. Following the usual sequence whisper, intone and then speak this passage from St. Cecilia's Day by Dry den. Sustain the resonance of the voice when speaking:
From Harmony, from Heavenly Harmony, This universal frame began: From Harmony to Harmony Through all the compass of the notes it ran, The diapason closing full in many.
Give full value to the M and N sounds.
ROUTINE 4 1. Whisper, then intone the following:
OON NOO / OHN NOH / AWN NAW / AHN NAH / AYN NAY / EEN NEE / OOM MOO / OHM MOH / AWM MAW / AHM MAH / AYM MAY / EEM MEE / OONG NGOO / OHNG NGOH / AWNG NGAW / AHNG NGAH / AYNG NGAY / EENG NGEE /
2. Whisper the first OO sound in the following sequence. Feel that there is no strain or unnecessary tension in the throat. Voice the M sound, feeling the voice forward on the mask of the face. Finally sustain the following vowel on one note:
3. Sustain the following sequence of sounds on an intoned note. Feel the voice moving forward towards the mask of the face as you do it:
4. Whisper the following sentences with full, round vowels, then intone them on one note and, finally, speak them:
SPEECH FAULTS Introductory
The following section is concerned with the ability to make specific individual sounds of English. Once the voice is produced it is shaped into particular types of sound by the use of the lips, tongue, hard palate, soft palate and the teeth.
The organs of speech:
1 Lips 2 Teeth 3 Alveolar ridge 4 Hard palate 5 Soft palate 6 Uvula 7 Tip and blade of tongue 8 Front of tongue 9 Centre of tongue 10 Back of tongue
The diagram shows a sectional view of the organs of speech. Note that the tongue, for the purposes of describing the formation of sounds, is divided into various parts. There is no commonly used sound which employs the use of the uvula; although sounds made with the back of the tongue in conjunction with the uvula are frequent in other European languages, such as French and German. In addition to the specific exercises given for correction of a sound, general articulation exercises should also be practised in order to develop dexterity and control of the lips, tongue and soft palate.
Date: 2015-12-24; view: 740
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