By Kenneth C. Crannell
Crannell's textual content bargains scholars an opportunity to either examine and do. First, scholars learn to find how their vocal gear works and locate how you can realize numerous speech styles. Then, as they perform with the varied and sundry workouts supplied within the textual content, they enhance the abilities wanted for private luck.
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Additional info for Voice and Articulation , Fifth Edition
And then, when I had made an opening sufficient for my head, / I put in a dark lantern, all closed, closed, so that no light shone out, and then I thrust in my head. / Oh, you would have laughed to see how cunningly I thrust it in! / I moved it slowly—very, very slowly, so that I might not disturb the old man’s sleep. / It took me an hour to place my whole head within the opening so far that I could see him as he lay upon his bed. —would a madman have been as wise as this? From THE TELL-TALE HEART Edgar Allan Poe Breathiness Obviously, much of the vocal characteristic of breathiness is eliminated by controlling diaphragmatic breaths and increasing the tension at the vocal folds and not in the muscles of the neck.
Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it. CHAP TER 2 Breathing Itofbreathe you have ever had singing lessons, you have heard your teacher say, “You must learn from here,” as she pointed toward your abdominal region. No one argues with a singing teacher. The same principle applies to speaking. Many students view this statement with more than a little suspicion. Why must we breathe that way? Surely we are not supposed to breathe that way all of the time?
Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it. CHAPTER 2 35 36 37 38 One breath Breathing 29 And flapping and rapping and clapping and slapping, And curling and whirling and purling and twirling, And thumping and plumping and bumping and jumping, And dashing and flashing and splashing and clashing; From THE CATARACT OF LODORE Robert Southey Try exercises (b) and (c) at the quickened pace that is usually used in breath control exercises.
Voice and Articulation , Fifth Edition by Kenneth C. Crannell