This document provides an overview of proper breathing techniques and vocal registration for singing. It discusses: 1) The importance of deep breathing from the diaphragm and exercising the breathing muscles to gain strength and lung capacity. Proper breathing is the foundation of good singing. 2) The anatomy of the vocal apparatus and resonance chambers. Tone quality depends on properly shaping these areas to divide the breath stream between the mouth and nose. 3) Singing involves three vocal registers (chest, middle, head) that differ in tone quality. Successful training requires developing each register and connecting them seamlessly. 4) Most people could sing if given proper instruction, but many teachers lack adequate training themselves. Rig

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2. LIBRARY
Brigham Young University
Erma Wortley

4. Digitized by the Internet Archive
in 2012 with funding from
Brigham Young University
http://archive.org/details/vocalmethodOObenj

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VOQttSX ffi€(t5BOD
BY
William Augustus Benjamin
$rin> <§m iollar
COPYRIGHT 1912 by W. A. BENJAMIN

6. jlrefar?
'
J F"FTER having read Mr. Benjamin's remarks upon singing, and having
s*-^% carefully sung each one of his Progressive Vocalizes myself, I have no
hesitation in saying that the Vocal Method here set forth is admirable, and
given good material upon which to work—should, with conscientious study,
be productive of excellent results. It is absolutely essential, however, that
individual voices be individually trained in order to overcome faults, or to im-
prove good qualities.
In singing, as in every other art, whether of peace or of war, everything de-
pends upon the "man behind the gun"; the pupil is, as it were, the gun; the
master is the man who trains it; the execution that the gun so trained preforms,
must, under proper guidance, be effective.
It almost seems that less common sense is exercised by would-be singers
(and those of their families who are enthusiastic about them) than by persons
who are preparing for other walks of life; they think that nothing but voice is
necessary, and are usually oblivious to the fact that in this branch of art more
care is needed than in any other, not only in the actual schooling of the vocal
organs, but of the mind as well and of the body as a whole, in order that
strength may be acquired to withstand the great strain of a busy professional
life.
The possession of a fine voice is as frequent among the uneducated as
among the educated classes of society; and it follows that, as the former are
much more numerous, corresponding care should be taken in the all-round
mental training of the average pupil.
At this time, when general education and particular regard for the English
language is at such a low ebb in America, I cannot too seriously impress upon
all singers the absolute necessity of culture, of refinement of mind and body,
of demeanor, and of diction.
In the following material Mr. Benjamin has covered these points excellently
and it gives me pleasure to endorse his views.
DAVID BISPHAM
New York, October 18th. 1912.
the library
BR1GHAM YOUNG UNIVERSTTT
PROVO. I
TAH

7. 5typ Utenjamm Tlnral ifcfjnft
FOREWORD
%1 HY is it that today we have so few singers with the great power,
vA/ wonderfully brilliant execution and heart-swaying sympathy that made
Giovanni Rubini, Maria Malibran, Giulia Grisi, Jenny Lind, Mario, Francisco
Tamagno, Adelina Patti, Henriette Sontag, Christine Nilsson and a score of
others world-famous only a few decades ago? Because we are unwilling to
follow the proper course of training sufficiently long to reach their degree of
perfection.
In this age of hurry and commercialism the majority of young people expect
to be able to sing more or less difficult songs before they rightly understand
how to produce one-half the vowels in simple vocalization and with few ex-
ceptions the singers of today know very little about breath-control which is the
realfoundation of all good singing.
Rossini once said that the great essential for the singer is "voice." Quite true,
but to make proper use of that voice the singer must have absolute breath-
control.
One may have a perfectly formed larynx, highly-arched palate and wide
throat, capable of giving tremendous resonance and yet get but imperfect re-
sults in singing because of the lack of proper method in breathing.
ON BREATHING
There are two kinds of breathing; the inadequate half-breath practised by
the majority, and the deep breathing enjoyed by the few.
Deep breathing is not difficult, in fact, it should be the easier way, and they
whose careless habits have drifted them out of the robust, full-lunged breathing
of vigorous childhood lay themselves open to lung weakness that may ma-
terially shorten their lives.
Leaving singing entirely out of our consideration, vigorous, deep, full-lunged
breathing is vastly more essential to our general health than the food-stuffs we
take into our stomachs.
Without the oxygen contained in the air we would die in less than three
minutes, for the combustions constantly going on within us would smother
out life as quickly as a lamp-flame goes out when the air-vents are clogged.
*"When the anatomy and physiology of the larynx are considered, it will be seen that the mus-
cular mechanisms concerned in voice-production are of a delicacy unequaled anywhere in the body
except possibly in the eye and the ear. And when it is further considered that these elaborate and
sensitive mechanisms of the larynx are of little use except when adequately put into action by the
breath-stream, which again involves hosts of other muscular movements, and the whole in relation to
the parts of the vocal apparatus above the larynx, the mouth, nose, etc., it becomes clear that only
long, patient, and intelligent study will lead to the highest results."—Mills on "Voice Production"

8. It is not my intention to go into a physiological treatise; I simply wish to im-
press upon my readers and pupils the great importance of breathing right and
to tell them how to do it.
The breathing organs comprise the mouth, nose, larynx, trachea, bronchial
tubes and the air-cells of the lungs, which must be kept clear for easy respira-
tion. Overexertion, sudden transitions from heat to cold, draughts, or any
condition liable to cause congestion should be most carefully avoided. The air
enters the trachea through a small opening in
the larynx wherein are located the vocal-cords.
The lower extension of the trachea branches
into small air tubes called "Bronchial tubes,"
much like the fibrous roots of a plant and
connect with the various air-cells of the lungs.
These air-cells are formed of membranous
tissue which, in a healthy condition, are high-
ly elastic and capable of being extended to a
<Di.phr.gm
very considerable degree.
The lungs are covered with a similar mem-
brane, which envelopes them and acts as a
,1 nX
protection against frictional irritation, the in-
Pl.te A. Show
.,..,,,.„ ^r^::":;mrrrrimzi; nerwalls °f the chest beins als° lined ^th
orjus of (he body, which is & significant fad for the s n<er to note. II is
j-^g game COVering.evident (hat absolute freedom in breathing is impossible witK a. congested
stomsch.
The upper part of the body is a cage-like
affair of bone and muscle, of sufficient pliability to admit of great expansion;
in this cage the lungs fit closely to the inner walls, between the chest and
the abdomen, supported by the sinuous "midriff" or diaphragm which divides
the upper and lower parts of the body.
The diaphragm is a membrane of stout fibrous composition,—a sort of sheet
muscle extending across the middle of the body as shown in the illustrations,
being attached to the spinal column in the back, to the lower ribs around on
the inside and shaped upward toward the center in convex form.
Upon each intake of air into the lungs the diaphragm is contracted or pushed
down to a greater or less extent according to the depth of^reathing. Jn.yenr
deep breathing the muscle is considerably contracted and ammBStwm iricnrawing"
of the lower ribs and abdomen. (See illustration "B.")
Now as absolute breath-control is the very foundation of all good singing, it
is necessary that the whole breathing apparatus be capable of great endurance;
this can only be attained by regularly exercising those muscles that are
brought into play to accomplish this result: these muscles are chest, diaphragm
and abdominal.
Inspiration is comparatively an easy process. It is the out-flow of breath (ex-
IV

9. piration) with which we have to deal. Breath-control being conservation, power
and steadiness of the out-going breath-stream, the need-rrf strength to uphold
a given tone true and steady, for any considerable time from the instant of
attack to its finish, with the same tonal quality and proper expression through-
out, is absolutely necessary.
We are told by those who are supposed to know that we should always
breathe through the nose, which in ordinary respiration is the right thing to do,
and it is best also to breathe that way at the start in taking regular breathing
lessons; but in singing we must resort to mouth breathing for the reason that
we are unable to take an instantaneous full breath through the nose without
great effort and a disagreeable snuffling sound.
The pupil will now take up the exercise that is to accomplish the desired
result.
Standing easily, head erect, with the arms dropped
closely to the sides and muscles relaxed, take in a slow
comfortably full breath through the nose, at the same time
allowing the muscles of the upper torso* toexpand (push
out) and the abdominal muscles tofc^ntract (draw in).
Hold the breath for four seconds or pulse-beats, counting
the while one—two—three—four —with each second;
then carefully exhale, smoothly, evenly, slowly, allowing
the muscles to slowly relax as the breath-stream goes
out, always bearing in mind that the important part
of breathing is to absolutely control the expiring breath
and to have plenty of it to control.
This exercise may be found very tiresome at the be-
ginning and care must be taken not to overdo it. Never
carry the work to the point of fatigue. In the beginning
the student may be able to work at it three, four, perhaps
even five minutes, but day by day, if practiced regularly, the muscles gain
strength and the lung-cage expands so that in a very little while one may
breathe easily and regularly in this manner and wonder why he did not al-
ways breathe so.
The muscles of the upper torso apply not only to the chest muscles but also to those of the sides
and back and after a few weeks faithful practice the pupil will find that the whole upper part of the
body expands upon the intake of a comfortably full breath.
Diaphragm
Plate B. The shaded line* show position m
normal breathing. The dotted line in deep
breathinj show* the expansion of the mus-
dee of the upper torso, affording plenty of
air apace, and at the same time the contrac-
tion of the abdominal muaclea. which form
% strong support to the diaphragm.

10. Soft Fatate
THE SINGING VOICE
jQjlNGING is produced by the out-going breath, which plays upon the vocal
^-^ cords, causing them to vibrate in such manner as to give similar motion
or vibration in the cavities above the larynx. All out-going breath that does not
produce tone is lost.
The vocal cords have very little to do with the actual quality of the tones, the
articulative and resonance mechanism being above the larynx; i. e. mouth,
nasal passages, etc., and the final results as to sound depend upon them. This
being a fact the tone quality depends, of course, upon the proper shaping of
these organs in the utterance of any given vowel or word.
Regardless of the fact that these organs are much in use every day many
singers and speakers have never given them a physiological study. I therefore
recommend that the reader give especial at-
tention to illustration "C".
The resonance chambers comprise the
whole mouth and nasal cavities, but more
particularly the teeth, gums, hard palate and
the bony structure of the nose, which, like the
body of the violin, give the resonance, intensi-
fication and "carrying" power, while the mov-
able parts, lips, tongue, soft palate and nostrils
give quality to the tone.
The soft palate is an extremely flexible
muscle which divides the mouth from the
back-nostrils and throat and can be raised to
a degree that will produce a purely "open"
tone or lowered to meet the tongue so closely
r^l
W
T
C
h.
tnat tne tone is thrown upward through the
nose, producing an extremely unpleasant nas-
al quality or "twang". To avoid the blatant "open" quality we "cover" the tone,
i. e. in vocalizing the tongue is slightly raised in the back and the soft palate
drops down to a greater or less extent according to the requirement of the ar-
ticulation and quality of tone produced,* but if the tongue be much thickened
in the back or pulled back toward the throat it produces a muffled or "throaty"
tone, frequently noticed in trombone and cornet players when they attempt to
sing, their tongues through occupation habit being thickened by muscular
pressure against the mouthpieces of their instruments.
*A few teachers advise against the "covered" tone and teach the "open" tone placement. For
more than twenty-five years I have made a close study of the methods of the greatest singers and
teachers of our time and my observation of pupils who have studied under the open tone method
convinces me that such process hardens the tone, gives a blatant quality and results in the ruin of
the voice in a very few years.
Epiglottia
0MOI>hi«»»
PUlc C Half-section view of the vocal apparatus, showing the larg"e reso-
nance cavities of the mouth and nose. Equable or nasal poise is produced
by the accurate division of the breath-stream through these t
is accomplished by the proper position of the tongue and soft |
illustration shows the position of the parts in sounding
1
the vowel a.
VI

11. Right singing is an art. It requires more than well developed vocal organs
to make an artistic singer, although singing, of itself, should be natural and
easy. The tone should float out on the breath with no more effort than the
spoken word and were it not for abnormal conditions, careless habits, or the
straining of the vocal apparatus beyond the power of endurance the vocal
teacher would have an easy task. To avoid what is known as the "throaty"
tone we must have equable poise, "nasal poise" some teachers call it; /. e. the
flow of breath carrying the tone must pass through the resonance chambers,
the soft palate and tongue being so shaped that we get an equable division of
the nose and mouth cavities, thereby producing a tone that is full, round, reso-
nant and beautifully expressive. This is to sing as nature intended we should
sing and gives us the bel canto* method of the old Italian school.
The successful training of the voice depends entirely upon the thoroughness
and authority of the teacher's own training, his practical experience as a singer
and his ability to impart his knowledge to the pupil, as well as the pupil's in-
telligence and aptitude in receiving instruction.
I believe that no other field of educational training is so crowded with
charlatans as that of "vocal culture" and it truly is a serious condition. There
should be rigid examination of singing teachers by a board of experts under
state supervision and the teacher should be licensed, upon successfully passing
such examination, the same as a medical practitioner, for present conditions per-
mit of the absolute ruin of the singing apparatus of many bright young students
who, under proper training, would probably develop into fine singers.^
After proper breathing comes the proper development of the tone quality
and this is not so easy to generalize upon, for the reason that each pupil should
be trained separately—and frequently by different processes, although the same
method and results be always kept in mind in each case.
Let us now take up as briefly as possible, but comprehensively, the subject
of vocalizing and voice building (tone-placement, etc.). The singing voice is
divided into three registers, although in some cases in the female voice there
have been found as many as six. Behnke claimed that in men there were but
two, the "thick" and the "thin" and in women three,—the "thick", the "thin"
and the "small", but the writer has frequently observed three distinct registers
in the male voice, the' lower or "chest" register, the middle register and the
head register, and in the female voice three or more. We must always keep
in mind the fact that each register is a series of tones that are characteristically
different, the one from the other, and in some singers this difference is surpris-
ingly marked.
I have had pupils whose lower registers were heavy chest baritone, the
*Bel canto Beautiful singing
tBe careful in the selection of your teacher
VII

12. middle register beautiful, round, full of "color" and the upper or head tones
almost all "falsetto", thin, colorless and without resonance.
As set forth in the beginning, all persons should be able to sing, although
there are many who do not. With some the condition is purely psycho-
logical,—they could sing if they thought so, or rather, they could sing if they
did not think they could not.
For those who really cannot sing there are good and sufficient reasons: mal-
formation or chronic congestion of the vocal organs, adenoids, thickened tongue,
conditions brought on during the adolescent period, straining of vocal cords in
childhood and a multitude of other things, any one tending to greatly and in
some instances to permanently injure the singing apparatus, causing conditions
that only a teacher of wide experience can correct or remedy.
Tone placement in such cases is naturally more difficult than with the clean,
healthy throat, in which nature has originally "placed" the tone as it should be
placed and the most beautiful tones that can be produced by any singer are
those that come as naturally as the speaking voice, rich, smooth, entrancing
just breathed out through the resofiance chambers with the least possible effort.
There is, in the untrained voice that has been carelessly used, an abrupt "break"
between the registers which is more or less marked, according to the strain the
voice has been subjected to under incorrect method, abuse, or neglect; still in
nearly every instance there will remain "spots" in the compass wherein the
tone quality is almost faultless.
It is always advisable to study voice under the direction of a competent
teacher, but for the benefit of those to whom such a course is impossible I sug-
gest that the student take a range of about one and one-half octaves, easily
within his compass and sing the simple scale as shown in No. 1 of the Vocalizes,
on the vowel "O" or "Ah" whichever seems better, finding that place in his
range wherein the tones come free and beautiful, with no marked nasal in-
tonation and with absolute relaxation of all the muscles of the face, mouth and
throat; as the stiffened jaw, set expression of the face and contracted throat
muscles are at once the evidence of faulty production. To guard against any
tenseness of expression or muscular contraction it is well to vocalize before a
mirror and note from the expression of the face if there be any tension what-
soever. If one finds a tendency to set the muscles then allow a faint smile to
creep into the expression*, which will help materially in relaxation.
When the student has satisfied himself as to certain tones in his (or her)
register being correct, let him take those tones as his guide, study the position
of the throat muscles and formation of the mouth as he sings them and work
*Marchesi is opposed to the smile as an aid in relaxation, claiming that it becomes stereotyped
and causes the very condition it is supposed to help avoid, but I have found a slight smiling ex-
pression very beneficial with my pupils, 1 mean, of course, just the suggestion of an easy,
pleasant smile, not a grin.
VIII

13. to produce all the other tones of the entire compass the same way, preserving
the same quality until gradually the so-called "breaks" dissapear, there being
apparently but one register throughout, and the whole compass is of one
beautiful, soft, resonant quality, full of expression and sweetness of tone. This
is tone placement.
THE VOCALIZES
It is my intention to cover the more advanced work of the student, together
with more difficult vocalizes, in later books; but in order that my present rea-
ders and pupils may the better benefit by a larger scope of practice.I will follow
these articles or "lessons" with twenty-four vocalizes, of sufficient variety and
so graded as to cover years of close conscientious work; in fact, numbers 1 , 2,
3, 6, 10 and 23 should be a part of the student's daily work for a long time; if
he be a professional singer he should use them as long as he lives or has a
voice to sing.*
In the study of any recitative, song or aria, it will be found that four methods
will cover the ground, viz : 1 . The sustained single tone; 2. The smooth legato
cadenza; 3. The distinct marcato run of the scale, and 4. The staccato passage.
As these methods are all of the utmost importance it will be necessary for the
student to work upon them as much as possible. The climax or finish of near-
ly all vocal compositions are sustained and require breath in proportion to their
length; the student should therefore work diligently to acquire steadiness, reso-
nance and sweetness of tone, as well as power, on every note in his compass,
with the least possible loss of breath.
Beginning with No. 1 . sing the scale slowly, smoothly, in moderate time,
counting one-two and three-four to each measure, up and down the scale many
times, increasing the tempo gradually until the run back and forth is made
with great rapidity,—B UT—softly and smoothly, with sure attack and definite
stroke of the glottis on every noteJ
With this same exercise take up the moderate tempo again, counting one-
two and three-four to each measure as before, attacking each tone with clean-
cut precision and dropping it almost instantly just as cleanly finished as begun;
i. e. as you count "one" sing "Do", giving it about one-eighth value, or one-half
the value of your first beat, the last half of this beat and all of the second beat
being silent. On the beginning of the third beat sing "Re", the last half of the
*Great singers like Sembrich, Nordica, Melba, Slezak, Bispham, Scotti and others use these or
similar exercises constantly in their practice work, vocalizing from two to six hours a day year
after year, so it should not seem a great task when your teacher demands of you only an hour or
two of conscientious work each day.
t Through extreme nervousness or lack of breath control some singers show a decided vibrato or
"tremolo" which is extremely unpleasant and should be eliminated as quickly as possible. Where
the vibrato is caused by disease of the vocal organs the student should consult a throat specialist.
IX

14. third beat and all of the fourth beat being silent and so on, up and down the
scale, carefully, precisely, with clean enunciation and absolute relaxation.
The "staccato" passages are sung by uttering each syllable quickly, with an
almost imperceptible expulsion of breath, wasting none, but making every
bit of it count in tone production. This exercise is taken up a little quicker
than the others, not too fast at the start, but gradually increasing until the run
can be made with great ease and rapidity. This is a difficult exercise but one
of the most effective in the whole series.
Number 8 is of especial value in "tone-placement", as the "registers" can be
smoothed out much more easily by working from the top down.
The other vocalizes are to be sung as they are written, always keeping in
mind conservation of breath, ease of tone production, enunciation, rythm and
absolute relaxation of the entire vocal apparatus.
As previously stated, however, it is much better to study under the direction
of a competent teacher, for no one can hear his own voice as it is and there are
sometimes faults which only an experienced teacher can remedy; in some in-
stances recourse to a throat specialist is necessary. Such faults the student
will find it impossible to overcome alone.
One more point and I have finished: the singer, more perhaps than any other
person in public life, should take the very best care of his general health.

15. TWENTY-FOUR
PROGRESSIVE
VOCALIZES
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32
Do re mi fa sol la si do do si
Jfi &o/, mi sol mi sol mi sol mi sol
De oh de oh de oh de oh de oh
la
mi
de
sol fa
sol mi
oh de
mi re do
sol "nil sol
oh de oh
Di
Do
Re
This exer-
cise (No. 2)
should be
sim/j slowly,
holding the
tone firm
and con*
n e c t e d
throughout.
Exercises Nos. 1, 2 and 3 should be continued by minor
seconds as far as the pupil can sinjj with ease.

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Nos. 4 and 6 should be continued by minor
seconds as far as pupil can sing with ease.

17. N9 7.
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24. N° 14.
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27. JVT9 18
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29. K°20
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31. N?22.
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32. P^r-rr^ ^g
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No. 23 should be continued by minor seconds
as far as the pupil can sing with ease.

33. N?24.
m i g f g g g
si si re sol
I
Do mi la si.
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£
mm p p
i
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la la do si la sol. sol
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34. *
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rit.
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la la la do re mi mi mi. do
PNH HP i i i m*=£
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ps y*t
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r
T ip ^HrrTfrl^do fa mi re ... re si mi re do. do
p * ti j, j « •i j j* T
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u
la sol fa mi. mi nu. si do la
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?m=* B
« zzz:

35. Printed in the Shop of
M. S. Palmer. Santa Ana, Cal.

38. Date Due
All library items are subject to recall 3 weeks from
the original date stamped.
MAR 'J /111 i
—
.
MAY 1 6 2008
A
r " I ~&
BElllW
Brigham Young University

39. BRIGHAM YOUNG UNIVERSITY
3 1197 20922 7849