What
the ear hears is the fundamental pitch only; the overtones harmonize with
the primary or fundamental tone, and enrich it. Since this is a law of
vibration, it is unscientific to speak of giving an overtone, for all
tones contain overtones. Where these overtones are interfered with by any
imperfection in the instrument the result is a harsh or imperfect sound.
In relation to the voice it should now be clearly understood that since it
is the overtones which enrich or give a harmonious sound to any tone, and
since all tones (low as well as high) have overtones as constituent parts
of their being, therefore the whole range of the resonant cavities of the
voice should, for the production of pure tone, be open to all degrees of
pitch, in order that the overtones may find their appropriate
reinforcement in the resonance chambers. Thus the quality of the voice
depends, not simply upon the condition of the vocal cords themselves, but
upon the form and quality of the resounding cavities.
CHAPTER II
Elementary Lessons.
After this brief discussion of the principles involved in this method of
practice, we will proceed to give some essential exercises for practice.
EXERCISE FOR SECURING FREEDOM OF TONE
This is the foundation of all voice culture.
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