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HOW TO SING
[MEINE GESANGSKUNST]
BY
LILLI LEHMANN
[Illustration: MADAME LILLI LEHMANN.]
TRANSLATED FROM THE GERMAN
BY
RICHARD ALDRICH
New York
THE MACMILLAN COMPANY
LONDON: MACMILLAN & CO., LTD.
1902
_All rights reserved_
COPYRIGHT, 1902,
BY THE MACMILLAN COMPANY.
Set up and electrotyped November, 1902.
Norwood Press
J.S. Cushing & Co.--Berwick & Smith
Norwood Mass. U.S.A.
[Transcriber's Note: In this e-text, characters with macrons are
preceded by an equal sign and enclosed in brackets, e.g., [=a].
Characters with breves are preceded by a right parenthesis and
enclosed in brackets, e.g., [)e]. Superscripted characters are
preceded by a carat, e.g., Gretel^e.]
CONTENTS
PAGE
MY PURPOSE 1
MY TITLE TO WRITE ON THE ART OF SONG 5
SECTION I
PRELIMINARY PRACTICE 11
SECTION II
OF THE BREATH 19
SECTION III
OF THE BREATH AND WHIRLING CURRENTS 27
SECTION IV
THE SINGER'S PHYSIOLOGICAL STUDIES 35
SECTION V
EQUALIZING THE VOICE; BREATH; FORM 45
SECTION VI
THE ATTACK 69
SECTION VII
NASAL. NASAL SINGING 73
SECTION VIII
SINGING TOWARD THE NOSE. HEAD VOICE 78
SECTION IX
THE HEAD VOICE 86
SECTION X
SENSATION AND POSITION OF THE TONGUE 99
SECTION XI
THE SENSATIONS OF THE PALATE 102
SECTION XII
THE SENSATION OF THE RESONANCE OF THE HEAD CAVITIES 108
SECTION XIII
SINGING COVERED 123
SECTION XIV
ON VOCAL REGISTERS 133
SECTION XV
DEVELOPMENT AND EQUALIZATION 142
SECTION XVI
WHITE VOICES 154
SECTION XVII
THEODOR WACHTEL 158
SECTION XVIII
THE HIGHEST HEAD TONES 162
SECTION XIX
EXTENSION OF THE COMPASS AND EQUALIZATION OF REGISTERS 169
SECTION XX
THE TREMOLO 170
SECTION XXI
THE CURE 176
SECTION XXII
THE TONGUE 181
SECTION XXIII
PREPARATION FOR SINGING 189
SECTION XXIV
THE POSITION OF THE MOUTH (CONTRACTION OF THE MUSCLES OF SPEECH) 192
SECTION XXV
CONNECTION OF VOWELS 196
SECTION XXVI
THE LIPS 212
SECTION XXVII
THE VOWEL SOUND _AH_ 214
SECTION XXVIII
ITALIAN AND GERMAN 219
SECTION XXIX
AUXILIARY VOWELS 226
SECTION XXX
RESONANT CONSONANTS 229
SECTION XXXI
PRACTICAL EXERCISES 232
SECTION XXXII
THE GREAT SCALE 239
SECTION XXXIII
VELOCITY 245
SECTION XXXIV
TRILL 251
SECTION XXXV
HOW TO HOLD ONE'S SELF WHEN PRACTISING 256
SECTION XXXVI
CONCERNING EXPRESSION 263
SECTION XXXVII
BEFORE THE PUBLIC 265
SECTION XXXVIII
INTERPRETATION 270
SECTION XXXIX
IN CONCLUSION 279
NOTE.--A GOOD REMEDY FOR CATARRH AND HOARSENESS 281
MY PURPOSE
My purpose is to discuss simply, intelligibly, yet from a scientific
point of view, the sensations known to us in singing, and exactly
ascertained in my experience, by the expressions "singing open,"
"covered," "dark," "nasal," "in the head," or "in the neck,"
"forward," or "back." These expressions correspond to our sensations
in singing; but they are unintelligible as long as the causes of those
sensations are unknown, and everybody has a different idea of them.
Many singers try their whole lives long to produce them and never
succeed. This happens because science understands too little of
singing, the singer too little of science. I mean that the
physiological explanations of the highly complicated processes of
singing are not plainly enough put for the singer, who has to concern
himself chiefly with his sensations in singing and guide himself by
them. Scientific men are not at all agreed as to the exact functions
of the several organs; the humblest singer knows something about them.
Every serious artist has a sincere desire to help others reach the
goal--the goal toward which all singers are striving: to sing well and
beautifully.
The true art of song has always been possessed and will always be
possessed by such individuals as are dowered by nature with all that
is needful for it--that is, healthy vocal organs, uninjured by vicious
habits of speech; a good ear, a talent for singing, intelligence,
industry, and energy.
In former times eight years were devoted to the study of singing--at
the Prague Conservatory, for instance. Most of the mistakes and
misunderstandings of the pupil could be discovered before he secured
an engagement, and the teacher could spend so much time in correcting
them that the pupil learned to pass judgment on himself properly.
But art to-day must be pursued like everything else, by steam. Artists
are turned out in factories, that is, in so-called conservatories, or
by teachers who give lessons ten or twelve hours a day. In two years
they receive a certificate of competence, or at least the diploma of
the factory. The latter, especially, I consider a crime, that the
state should prohibit.
All the inflexibility and unskilfulness, mistakes and deficiencies,
which were formerly disclosed during a long course of study, do not
appear now, under the factory system, until the student's public
career has begun. There can be no question of correcting them, for
there is no time, no teacher, no critic; and the executant has learned
nothing, absolutely nothing, whereby he could undertake to distinguish
or correct them.
The incompetence and lack of talent whitewashed over by the factory
concern lose only too soon their plausible brilliancy. A failure in
life is generally the sad end of such a factory product; and to
factory methods the whole art of song is more and more given over as a
sacrifice.
I cannot stand by and see these things with indifference. My artistic
conscience urges me to disclose all that I have learned and that has
become clear to me in the course of my career, for the benefit of art;
and to give up my "secrets," which seem to be secrets only because
students so rarely pursue the path of proper study to its end. If
artists, often such only in name, come to a realization of their
deficiencies, they lack only too frequently the courage to acknowledge
them to others. Not until we artists all reach the point when we can
take counsel with each other about our mistakes and deficiencies, and
discuss the means for overcoming them, putting our pride in our
pockets, will bad singing and inartistic effort be checked, and our
noble art of singing come into its rights again.
MY TITLE TO WRITE ON THE ART OF SONG
Rarely are so many desirable and necessary antecedents united as in my
case.
The child of two singers, my mother being gifted musically quite out
of the common, and active for many years not only as a dramatic
singer, but also as a harp virtuoso, I, with my sister Marie, received
a very careful musical education; and later a notable course of
instruction in singing from her. From my fifth year on I listened
daily to singing lessons; from my ninth year I played accompaniments
on the pianoforte, sang all the missing parts, in French, Italian,
German, and Bohemian; got thoroughly familiar with all the operas, and
very soon knew how to tell good singing from bad. Our mother took
care, too, that we should hear all the visiting notabilities of that
time in opera as well as in concert; and there were many of them every
year at the Deutsches Landestheater in Prague.
She herself had found a remarkable singing teacher in the Frankfort
basso, Foeppel; and kept her voice noble, beautiful, young, and strong
to the end of her life,--that is, till her seventy-seventh
year,--notwithstanding enormous demands upon it and many a blow of
fate. She could diagnose a voice infallibly; but required a probation
of three to four months to test talent and power of making progress.
I have been on the stage since my eighteenth year; that is, for
thirty-four years. In Prague I took part every day in operas,
operettas, plays, and farces. Thereafter in Danzig I sang from
eighteen to twenty times a month in coloratura and soubrette parts;
also in Leipzig, and later, fifteen years in Berlin. In addition I
sang in very many oratorios and concerts, and gave lessons now and
then.
As long as my mother lived she was my severest critic, never
satisfied. Finally I became such for myself. Now fifteen years more
have passed, of which I spent eight very exacting ones as a dramatic
singer in America, afterward fulfilling engagements as a star, in all
languages, in Germany, Austria, Hungary, France, England, and Sweden.
My study of singing, nevertheless, was not relaxed. I kept it up more
and more zealously by myself, learned something from everybody,
learned to _hear_ myself and others.
For many years I have been devoting myself to the important questions
relating to singing, and believe that I have finally found what I have
been seeking. It has been my endeavor to set down as clearly as
possible all that I have learned through zealous, conscientious study
by myself and with others, and thereby to offer to my colleagues
something that will bring order into the chaos of their methods of
singing; something based on science as well as on sensations in
singing; something that will bring expressions often misunderstood
into clear relation with the exact functions of the vocal organs.
In what I have just said I wish to give a sketch of my career only to
show what my voice has endured, and why, notwithstanding the enormous
demands I have made upon it, it has lasted so well. One who has sung
for a short time, and then has lost his voice, and for this reason
becomes a singing teacher, has never sung consciously; it has simply
been an accident, and this accident will be repeated, for good or for
ill, in his pupils.
The talent in which all the requirements of an artist are united is
very rare. Real talent will get along, even with an inferior teacher,
in some way or another; while the best teacher cannot produce talent
where there is none. Such a teacher, however, will not beguile people
with promises that cannot be kept.
My chief attention I devote to artists, whom I can, perhaps, assist in
their difficult, but glorious, profession. One is never done with
learning; and that is especially true of singers. I earnestly hope
that I may leave them something, in my researches, experiences, and
studies, that will be of use. I regard it as my duty; and I confide it
to all who are striving earnestly for improvement.
GRUeNEWALD, Oct. 31, 1900.
SECTION I
PRELIMINARY PRACTICE
It is very important for all who wish to become artists to begin their
work not with practical exercises in singing, but with serious
practice in tone production, in breathing in and out, in the functions
of the lungs and palate, in clear pronunciation of all letters, and
with speech in general.
Then it would soon be easy to recognize talent or the lack of it. Many
would open their eyes in wonder over the difficulties of learning to
sing, and the proletariat of singers would gradually disappear. With
them would go the singing conservatories and the bad teachers who, for
a living, teach everybody that comes, and promise to make everybody a
great artist.
Once when I was acting as substitute for a teacher in a conservatory,
the best pupils of the institution were promised me,--those who needed
only the finishing touches. But when, after my first lesson, I went to
the director and complained of the ignorance of the pupils, my mouth
was closed with these words, "For Heaven's sake, don't say such
things, or we could never keep our conservatory going!"
I had enough, and went.
The best way is for pupils to learn preparatory books by heart, and
make drawings. In this way they will get the best idea of the vocal
organs, and learn their functions by sensation as soon as they begin
to sing. The pupil should be subjected to strict examinations.
_In what does artistic singing differ from natural singing?_
In a clear understanding of all the organs concerned in voice
production, and their functions, singly and together; in the
understanding of the sensations in singing, conscientiously studied
and scientifically explained; in a gradually cultivated power of
contracting and relaxing the muscles of the vocal organs, that power
culminating in the ability to submit them to severe exertions and keep
them under control. The prescribed tasks must be mastered so that they
can be done without exertion, with the whole heart and soul, and with
complete understanding.
How is this to be attained?
Through natural gifts, among which I reckon the possession of sound
organs and a well-favored body; through study guided by an excellent
teacher _who can sing well himself_,--study that must be kept up for
at least six years, without counting the preliminary work.
Only singers formed on such a basis, after years of work, deserve the
title of artist; only such have a right to look forward to a lasting
future, and only those equipped with such a knowledge ought to teach.
_Of what consists artistic singing?_
Of a clear understanding, first and foremost, of breathing, in and
out; of an understanding of the form through which the breath has to
flow, prepared by a proper position of the larynx, the tongue, and the
palate. Of a knowledge and understanding of the functions of the
muscles of the abdomen and diaphragm, which regulate the breath
pressure; then, of the chest-muscle tension, against which the breath
is forced, and whence, under the control of the singer, after passing
through the vocal cords, it beats against the resonating surfaces and
vibrates in the cavities of the head. Of a highly cultivated skill and
flexibility in adjusting all the vocal organs and in putting them into
minutely graduated movements, without inducing changes through the
pronunciation of words or the execution of musical figures that shall
be injurious to the tonal beauty or the artistic expression of the
song. Of an immense muscular power in the breathing apparatus and all
the vocal organs, the strengthening of which to endure sustained
exertion cannot be begun too long in advance; and the exercising of
which, as long as one sings in public, must never be remitted for a
single day.
As beauty and stability of tone do not depend upon excessive
_pressure_ of the breath, so the muscular power of the organs used in
singing does not depend on convulsive rigidity, but in that snakelike
power of contracting and loosening,[1] which a singer must consciously
have under perfect control.
[Footnote 1: In physiology when the muscles resume their normal state,
they are said to be _relaxed_. But as I wish to avoid giving a false
conception in our vocal sensations, I prefer to use the word
"loosening."]
The study needed for this occupies an entire lifetime; not only
because the singer must perfect himself more and more in the roles of
his repertory--even after he has been performing them year in and year
out,--but because he must continually strive for progress, setting
himself tasks that require greater and greater mastery and strength,
and thereby demand fresh study.
_He who stands still, goes backward._
Nevertheless, there are fortunately gifted geniuses in whom are
already united all the qualities needed to attain greatness and
perfection, and whose circumstances in life are equally fortunate; who
can reach the goal earlier, without devoting their whole lives to it.
Thus, for instance, in Adelina Patti everything was united,--the
splendid voice, paired with great talent for singing, and the long
oversight of her studies by her distinguished teacher, Strakosch. She
never sang roles that did not suit her voice; in her earlier years she
sang only arias and duets or single solos, never taking part in
ensembles. She never sang even her limited repertory when she was
indisposed. She never attended rehearsals, but came to the theatre in
the evening and sang triumphantly, without ever having seen the
persons who sang and acted with her. She spared herself rehearsals
which, on the day of the performance, or the day before, exhaust all
singers, because of the excitement of all kinds attending them, and
which contribute neither to the freshness of the voice nor to the joy
of the profession.
Although she was a Spaniard by birth and an American by early
adoption, she was, so to speak, the greatest Italian singer of my
time. All was absolutely good, correct, and flawless, the voice like a
bell that you seemed to hear long after its singing had ceased.
Yet she could give no explanation of her art, and answered all her
colleagues' questions concerning it with an "Ah, je n'en sais rien!"
She possessed, unconsciously, as a gift of nature, a union of all
those qualities that all other singers must attain and possess
_consciously_. Her vocal organs stood in the most favorable relations
to each other. Her talent, and her remarkably trained ear, maintained
control over the beauty of her singing and of her voice. The fortunate
circumstances of her life preserved her from all injury. The purity
and flawlessness of her tone, the beautiful equalization of her whole
voice, constituted the magic by which she held her listeners
entranced. Moreover, she was beautiful and gracious in appearance.
The accent of great dramatic power she did not possess; yet I ascribe
this more to her intellectual indolence than to her lack of ability.
SECTION II
OF THE BREATH
The breath becomes voice through the operation of the will, and the
instrumentality of the vocal organs.
To regulate the breath, to prepare a passage of the proper form
through which it shall flow, circulate, develop itself, and reach the
necessary resonating chambers, must be our chief task.
Concerning the breath and much more besides there is so much that is
excellent in Oscar Guttmann's "Gymnastik der Stimme" that I can do no
better than to refer to it and recommend it strongly to the attention
of all earnest students.
How do I breathe?
Very short of breath by nature, my mother had to keep me as a little
child almost sitting upright in bed. After I had outgrown that and as
a big girl could run around and play well enough, I still had much
trouble with shortness of breath in the beginning of my singing
lessons. For years I practised breathing exercises every day without
singing, and still do so with especial pleasure, now that everything
that relates to the breath and the voice has become clear to me. Soon
I had got so far that I could hold a swelling and diminishing tone
from fifteen to eighteen seconds.
I had learned this: to draw in the abdomen and diaphragm, raise the
chest and hold the breath in it by the aid of the ribs; in letting out
the breath _gradually_ to relax the body and to let the chest fall
slowly. To do everything _thoroughly_ I doubtless exaggerated it all.
But since for twenty-five years I have breathed in this way almost
exclusively, with the utmost care, I have naturally attained great
dexterity in it; and my abdominal and chest muscles and my diaphragm,
have been strengthened to a remarkable degree. Yet I was not
satisfied.
A horn player in Berlin with the power of holding a very long breath,
once told me in answer to a question, that he drew in his abdomen and
diaphragm very strongly, but immediately relaxed his abdomen again as
soon as he began to play. I tried the same thing with the _best
results_. Quite different, and very naive, was the answer I once got
from three German orchestral horn players in America. They looked at
me in entire bewilderment, and appeared not to understand in the least
my questions as to how they breathed. Two of them declared that the
best way was not to think about it at all. But when I asked if their
teachers had never told them how they should breathe, the third
answered, after some reflection, "Oh, yes!" and pointed in a general
way to his stomach. The first two were right, in so far as too violent
inhalation of breath is really undesirable, because thereby _too much_
air is drawn in. But such ignorance of the subject is disheartening,
and speaks ill for the conservatories in which the players were
trained, whose performances naturally are likely to give art a black
eye.
Undoubtedly I took in too much air in breathing, and thereby stiffened
various organs, depriving my muscles of their elasticity. Yet, with
all my care and preparation, I often, when I had not given special
thought to it, had too little breath, rather than too much. I felt,
too, after excessive inhalation, as if I must emit a certain amount of
air before I began to sing. Finally I abandoned all superfluous
drawing in of the abdomen and diaphragm, inhaled but little, and began
to pay special attention to emitting the smallest possible amount of
breath, which I found very serviceable.
How do I breathe now?
My diaphragm I scarcely draw in consciously, my abdomen never; I feel
the breath fill my lungs, and my upper ribs expand. Without raising
my chest especially high, I force the breath against it, and hold it
fast there. At the same time I raise my palate high and prevent the
escape of breath through the nose. The diaphragm beneath reacts
against it, and furnishes pressure from the abdomen. Chest, diaphragm,
the closed epiglottis, and the raised palate all form a supply chamber
for the breath.
Only in this way is the breath under the control of the singer,
through the pressure against the chest tension muscles. (_This is very
important._) From now on the breath must be emitted from the supply
chamber very sparingly, but with unceasing uniformity and strength,
without once being held back, to the vocal cords, which will further
regulate it as far as possible. The more directly the breath pressure
is exerted against the chest,--one has the feeling, in this, of
singing the tone against the chest whence it must be _pressed_
out,--the less breath flows through the vocal cords, and the less,
consequently, are these overburdened.
In this way, under control, in the passage formed for it above the
tongue by that organ, it reaches the resonance chambers prepared for
it by the raising and lowering of the soft palate, and those in the
cavities of the head. Here it forms whirling currents of tone; these
now must circulate uninterrupted for as long as possible and fill all
the accessible resonating surfaces, which must be maintained in an
elastic state. This is necessary to bring the tone to its perfect
purity. Not till these currents have been sufficiently used up and
passed through the "bell," or cup-shaped resonating cavity, of the
mouth and lips, may it be allowed to stream from the mouth unimpeded.
Yet the _sensation_ must be as if the breath were constantly escaping
from the mouth.
To observe and keep under control these many functions, singly or in
conjunction, forms the ceaseless delight of the never failing fountain
of song study.
Thus, in shaping the passage for the breath, the larynx, tongue, and
palate, which can be placed at will, are employed. The vocal cords,
which can best be imagined as inner lips, we have under control
neither as beginners nor as artists. _We do not feel them._ We first
become conscious of them through the controlling apparatus of the
breath, which teaches us to _spare_ them, by emitting breath through
them in the least possible quantity and of even pressure, whereby a
steady tone can be produced. I even maintain that all is won, when--as
Victor Maurel says--we regard them directly as the breath regulators,
and relieve them of all overwork through the controlling apparatus of
the chest-muscle tension.
Through the form prepared by the larynx, tongue, and palate, we can
direct the breath, previously under control and regulation, toward the
particular resonating surfaces on the palate, or in the cavities of
the head, which are suitable to each tone. This rule remains the same
for all voices.
As soon as the breath leaves the larynx, it is divided. (Previously,
in inhalation, a similar thing happens; but this does not concern us
immediately, and I prefer to direct the singer's chief attention to
the second occurrence.) One part may press toward the palate, the
other toward the cavities of the head. The division of the breath
occurs regularly, from the deepest bass to the highest tenor or
soprano, step for step, vibration for vibration, without regard to sex
or individuality. Only the differing size or strength of the vocal
organs through which the breath flows, the breathing apparatus, or the
skill with which they are used, are different in different
individuals. The seat of the breath, the law of its division, as well
as the resonating surfaces, are always the same and are differentiated
at most through difference of habit.
SECTION III
OF THE BREATH AND WHIRLING CURRENTS
(SINGING FORWARD)
The veriest beginner knows that in order to use the breath to the
fullest advantage, it must remain very long diffused back in the
mouth. A mistaken idea of "singing forward" misleads most to _press_
it forward and thus allow it to be speedily dissipated.
The column of breath coming in an uninterrupted stream from the
larynx, must, as soon as it flows into the form prepared for it
according to the required tone, by the tongue and palate, fill this
form, soaring through all its corners, with its vibrations. It makes
whirling currents, which circulate in the elastic form surrounding it,
and it must remain there till the tone is high enough, strong enough,
and sustained enough to satisfy the judgment of the singer as well as
the ear of the listener. Should there be lacking the least element of
pitch, strength, or duration, the tone is imperfect and does not meet
the requirement.
Learning and teaching to hear is the first task of both pupil and
teacher. One is impossible without the other. It is the most difficult
as well as the most grateful task, and it is the only way to reach
perfection.
Even if the pupil unconsciously should produce a flawless tone, it is
the teacher's duty to acquaint him clearly with the _causes_ of it. It
is not enough to sing well; one must also know how one does it. The
teacher must tell the pupil constantly, making him describe clearly
his sensations in singing, and understand fully the physiological
factors that cooeperate to produce them.
The sensations in singing must coincide with mine as here described,
if they are to be considered as correct; for mine are based logically
on physiological causes and correspond precisely with the operation of
these causes. Moreover, all my pupils tell me--often, to be sure, not
till many months have passed--how exact my explanations are; how
accurately, on the strength of them, they have learned to feel the
physiological processes. They have learned, slowly, to be sure, to
become conscious of their errors and false impressions; for it is very
difficult to ascertain such mistakes and false adjustments of the
organs. False sensations in singing and disregarded or false ideas of
physiological processes cannot immediately be stamped out. A long time
is needed for the mind to be able to form a clear image of those
processes, and not till then can knowledge and improvement be
expected. The teacher must repeatedly explain the physiological
processes, the pupil repeatedly disclose every confusion and
uncertainty he feels, until the perfect consciousness of his
sensations in singing is irrevocably impressed upon his memory, that
is, has become a habit.
Among a hundred singers hardly one can be found whose single tones
meet every requirement. And among a thousand listeners, even among
teachers, and among artists, hardly one hears it.
I admit that such perfect tones sometimes, generally quite
unconsciously, are heard from young singers, and especially from
beginners, and never fail to make an impression. The teacher hears
that they are good, so does the public. Only a very few know why, even
among singers, because only a very few know the laws governing perfect
tone production. Their talent, their ear perchance, tell them the
truth; but the causes they neither know nor look for.
On such "unconscious singing" directors, managers, and even
conductors, build mistakenly their greatest hopes. No one hears what
is lacking, or what will soon be lacking, and all are surprised when
experienced singers protest against it.
They become enthusiastic, properly, over beautiful voices, but pursue
quite the wrong path in training them for greater tasks. As soon as
such persons are obtained, they are immediately bundled into _all_
roles; they have hardly time to learn one role by heart, to say
nothing of comprehending it and working it up artistically. The stars
must shine _immediately_! But with what resources? With the fresh
voice alone? Who is there to teach them to use their resources on the
stage? Who to husband them for the future? The manager? the director?
Not at all. When the day comes that they can no longer perform what,
not they themselves, but the directors, expected of them, they are put
to one side, and if they do not possess great energy and strength,
often entirely succumb. They could not meet the demands made upon
them, because they did not know how to use their resources.
I shall be told that tones well sung, even unconsciously, are enough.
But that is not true. The least unfavorable circumstance,
over-exertion, indisposition, an unaccustomed situation, anything can
blow out the "unconscious" one's light, or at least make it flicker
badly. Of any self-help, when there is ignorance of all the
fundamentals, there can be no question. Any help is grasped at. Then
appears the so-called (but false) "individuality," under whose mask so
much that is bad presents itself to art and before the public.
This is not remarkable, in view of the complexity of the phenomena of
song. Few teachers concern themselves with the fundamental studies;
they often do not sing at all themselves, or they sing quite wrongly;
and consequently can neither describe the vocal sensations nor test
them in others. Theory alone is of no value whatever. With old singers
the case is often quite the contrary--so both seize whatever help they
can lay hold of. The breath, that vibrates against the soft palate,
when it is raised, or behind it in the cavities of the head, produces
whirling currents through its continuous streaming forth and its
twofold division. These currents can circulate only in unbroken
completeness of form. The longer their form remains unimpaired, and
the more economically the continuous breath pressure is maintained,
the less breath do these currents need, the less is emitted unused
from the mouth.
If an elastic form is found in the mouth in which the currents can
circulate untouched by any pressure or undue contraction or expansion
of it, the breath becomes practically unlimited. That is the simple
solution of the paradox that without deep breathing one may often have
much breath, and, after elaborate preparations, often none at all;
because the chief attention is generally directed to inhalation,
instead of to the elastic forming of the organs for the breath, sound
currents, and tone. The one thing needed is the knowledge of the
causes, and the necessary skill in preparing the form, avoiding all
pressure that could injure it, whether originating in the larynx,
tongue, or palate, or in the organs that furnish the breath pressure.
The singer's endeavors, consequently, must be directed to keeping the
breath as long as possible sounding and vibrating not only forward but
back in the mouth, since the resonance of the tone is spread upon and
above the entire palate, extends from the front teeth to the wall of
the throat. He must concern himself with preparing for the vibrations,
pliantly and with mobility, a powerful, elastic, almost floating
envelope, which must be filled entirely, with the help of a continuous
vocal mixture,--a mixture of which the components are indistinguishable.
SECTION IV
THE SINGER'S PHYSIOLOGICAL STUDIES
Science has explained all the processes of the vocal organs in their
chief functions, and many methods of singing have been based upon
physiology, physics, and phonetics. To a certain extent scientific
explanations are absolutely necessary for the singer--as long as they
are confined to the sensations in singing, foster understanding of the
phenomenon, and summon up an intelligible picture. This is what
uninterpreted sensations in singing cannot do; of which fact the
clearest demonstration is given by the expressions, "bright," "dark,"
"nasal," "singing forward," etc., that I began by mentioning and that
are almost always falsely understood. They are quite meaningless
without the practical teachings of the sensations of such singers as
have directed their attention to them with a knowledge of the end in
view, and are competent to correlate them with the facts of science.
The singer is usually worried by the word "physiology"; but only
because he does not clearly understand the limits of its teachings.
The singer need, will, and must, know a little of it. We learn so much
that is useless in this life, why not learn that which is of the
utmost service to us? What, in brief, does it mean? Perfect
consciousness in moving the vocal organs, and through the aid of the
ear, in placing them at will in certain relations with each other; the
fact that the soft palate can be drawn up against the hard palate;
that the tongue is able to take many different positions, and that the
larynx, by the assistance of the vocal sound oo, takes a low position,
and by that of the vowel [=a] a high one; that all muscles contract in
activity and in normal inactivity are relaxed; that we must strengthen
them by continued vocal gymnastics so that they may be able to
sustain long-continued exertion; and must keep them elastic and use
them so. It includes also the well-controlled activity of diaphragm,
chest, neck, and face muscles. This is all that physiology means for
the vocal organs. Since these things all operate together, one without
the others can accomplish nothing; if the least is lacking, singing is
quite impossible, or is entirely bad.
[Illustration: Cavity of the forehead, high range.
Nasal cavity, middle range.
Palatal resonance, low range.
Soft palate laid back against the wall of the throat in low tones,
lowered in high tones.
Red lines denote the resonance.]
Physiology is concerned also with muscles, nerves, sinews, ligaments,
and cartilage, all of which are used in singing, but all of which we
cannot feel. We cannot even feel the vocal cords. Certainly much
depends for the singer upon their proper condition; and whether as
voice producers or breath regulators, we all have good reason always
to spare them as much as possible, and never to overburden them.
Though we cannot feel the vocal cords, we can, nevertheless, hear, by
observing whether the tone is even,--in the emission of the breath
under control,--whether they are performing their functions properly.
Overburdening them through pressure, or emitting of the breath without
control, results in weakening them. The irritation of severe coughing,
thoughtless talking or shouting immediately after singing may also set
up serious congestion of the vocal cords, which can be remedied only
through slow gymnastics of the tongue and laryngeal muscles, by the
pronunciation of vowels in conjunction with consonants. Inactivity of
the vocal organs will not cure it, or perhaps not till after the lapse
of years.
A good singer can _never_ lose his voice. Mental agitation or severe
colds can for a time deprive the singer of the use of his vocal
organs, or seriously impair them. Only those who have been singing
without consciously correct use of their organs can become
disheartened over it; those who know better will, with more or less
difficulty, cure themselves, and by the use of vocal gymnastics bring
their vocal organs into condition again.
For this reason, if for no other, singers should seek to acquire
accurate knowledge of their own organs, as well as of their functions,
that they may not let themselves be burnt, cut, and cauterized by
unscrupulous physicians. Leave the larynx and all connected with it
alone; strengthen the organs by daily vocal gymnastics and a healthy,
_sober_ mode of life; beware of catching cold after singing; do not
sit and talk in restaurants.
Students of singing should use the early morning hours, and fill their
days with the various branches of their study. Sing every day only so
much, that on the next day you can practise again, feeling fresh and
ready for work, as _regular_ study requires. Better one hour every day
than ten to-day and none tomorrow.
The public singer should also do his practising early in the day, that
he may have himself well in hand by evening. How often one feels
indisposed in the morning! Any physical reason is sufficient to make
singing difficult, or even impossible; it need not be connected
necessarily with the vocal organs; in fact, I believe it very rarely
is. For this reason, in two hours everything may have changed.
I remember a charming incident in New York. Albert Niemann, our heroic
tenor, who was to sing _Lohengrin_ in the evening, complained to me in
the morning of severe hoarseness. To give up a role in America costs
the singer, as well as the director, much money. My advice was to
wait.
_Niemann._ What do you do, then, when you are hoarse?
_I._ Oh, I practise and see whether it still troubles me.
_Niem._ Indeed; and what do you practise?
_I._ Long, slow scales.
_Niem._ Even if you are hoarse?
_I._ Yes; if I want to sing, or have to, I try it.
_Niem._ Well, what are they? Show me.
_The great scale, the infallible cure._
I showed them to him; he sang them, with words of abuse in the
meantime; but gradually his hoarseness grew better. He did not send
word of his inability to appear in the evening, but sang, and better
than ever, with enormous success.
I myself had to sing _Norma_ in Vienna some years ago, and got up in
the morning quite hoarse. By nine o'clock I tried my infallible
remedy, but could not sing above A flat, though in the evening I
should have to reach high D flat and E flat. I was on the point of
giving up, because the case seemed to me so desperate. Nevertheless, I
practised till eleven o'clock, half an hour at a time, and noticed
that I was gradually getting better. In the evening I had my D flat
and E flat at my command and was in brilliant form. People said they
had seldom heard me sing so well.
I could give numberless instances, all going to show that you never
can tell early in the day how you are going to feel in the evening. I
much prefer, for instance, not to feel so very well early in the day,
because it may easily happen that the opposite may be the case later
on, which is much less agreeable. If you wish to sing only when you
are in good form, you must excuse yourself ninety-nine times out of a
hundred. You must learn to know your own vocal organs thoroughly and
be able to sing; must do everything that is calculated to keep you in
good condition. This includes chiefly rest for the nerves, care of the
body, and gymnastics of the voice, that you may be able to defy all
possible chances.
Before all, never neglect to practise every morning, regularly, proper
singing exercises through the whole compass of the voice. Do it with
_painful_ seriousness; and never think that vocal gymnastics weary the
singer. On the contrary, they bring refreshment and power of endurance
to him who will become master of his vocal organs.
SECTION V
EQUALIZING THE VOICE; BREATH; FORM
Through the lowering of the pillars of the fauces, which is the same
as raising the soft palate, the outflowing breath is divided into two
parts.
I have sketched the following representation of it:--
Division of the breath.
By raising the pillars of the fauces, which closes off the throat from
the cavities of the head, the chest voice is produced; that is, the
lowest range of all kinds of voices. This occurs when the main stream
of breath, spreading over against the high-arched palate, completely
utilizes all its resonating surfaces. This is the palatal resonance,
in which there is the most power (Plate A).
[Illustration: A
Red lines denote division of the breath in palatal resonance, lower
range of male and female voices.]
When the soft palate is raised high behind the nose, the pillars of
the fauces are lowered, and this frees the way for the main stream of
breath to the head cavities. This now is poured out, filling the nose,
forehead, and head cavities. This makes the head tone. Called head
tone in women, falsetto in men, it is the highest range of all classes
of voices, the resonance of the head cavities (Plate C).
[Illustration: C
Resonance of the cavity of the forehead.
Red lines denote division of the breath in the resonance of the head
cavity, high range.]
Between these two extreme functions of the palate and breath, one
stream of breath gives some of its force to the other; and when
equally divided they form the medium range of all classes of voices
(Plate B).
[Illustration: B
Red lines denote division of the breath in the middle range.]
The singer must always have in his mind's eye a picture of this
divided stream of breath.
As I have already said, in the lowest tones of all voices the main
stream of breath is projected against the palate; the pillars of the
fauces, being stretched to their fullest extent, and drawn back to the
wall of the throat, allow _almost_ no breath to reach the head
cavities.
I say _almost_ none, for, as a matter of fact, a branch stream of
breath, however small, must be forced back, behind and above the
pillars, first into the nose, later into the forehead and the cavities
of the head. This forms the overtones (head tones) which must vibrate
with all tones, even the lowest. These overtones lead over from the
purest chest tones, slowly, with a constantly changing mixture of both
kinds of resonance, first to the high tones of bass and baritone, the
low tones of tenor, the middle tones of alto and soprano, finally, to
the purest head tones, the highest tones of the tenor-falsetto or
soprano. (See the plates.)
The extremely delicate gradation of the scale of increase of the
resonance of the head cavities in ascending passages, and of increase
of palatal resonance in descending, depends upon the skill to make the
palate act elastically, and to let the breath, under control of the
abdominal and chest pressure, flow uninterruptedly in a gentle stream
into the resonating chambers. Through the previous preparation of the
larynx and tongue, it must reach its resonating surfaces as though
passing through a cylinder, and must circulate in the form previously
prepared for it, proper for each tone and vowel sound. This form
surrounds it gently but firmly. The supply of air remains continuously
the same, _rather increasing than diminishing_, notwithstanding the
fact that the quantity which the abdominal pressure has furnished the
vocal cords from the supply chamber is a very small one. That it may
not hinder further progression, the form must remain elastic and
sensitive to the most delicate modification of the vowel sound. If the
tone is to have life, it must always be able to conform to any vowel
sound. The least displacement of the form or interruption of the
breath breaks up the whirling currents and vibrations, and
consequently affects the tone, its vibrancy, its strength, and its
duration.
In singing a continuous passage upward, the form becomes higher and
more pliant; the most pliable place on the palate is drawn upward.
(See Plate A.)
When I sing a single tone I can give it much more power, much more
palatal or nasal resonance, than I could give in a series of ascending
tones. In a musical figure I must attack the lowest note in such a way
that I can easily reach the highest. I must, therefore, give it much
more head tone than the single tone requires. (Very important.) When
advancing farther, I have the feeling on the palate, above and behind
the nose, toward the cavities of the head, of a strong but very
elastic rubber ball, which I fill like a balloon with my breath
streaming up far back of it. And this filling keeps on in even
measure. That is, the branch stream of the breath, which flows into
the head cavities, must be free to flow very strongly without
hindrance. (See Plate B.)
I can increase the size of this ball above, to a pear shape, as soon
as I think of singing higher; and, indeed, I heighten the form
_before_ I go on from the tone just sung, making it, so to speak,
_higher_ in that way, and thus keep the form, that is, the
"propagation form," ready for the next higher tone, which I can now
reach easily, as long as no interruption in the stream of breath
against the mucous membrane can take place. For this reason the breath
must _never be held back_, but must always be emitted in a more and
more powerful stream. The higher the tone, the more numerous are the
vibrations, the more rapidly the whirling currents circulate, and the
more unchangeable must the form be.
Catarrh often dries up the mucous membrane; then the tones are
inclined to break off. At such times one must sing with peculiar
circumspection, and with an especially powerful stream of breath
behind the tone: it is better to take breath frequently. In a
descending scale or figure I must, on the contrary, preserve very
carefully the form taken for the highest tone. I must not go higher,
nor yet, under any circumstances, lower, but must imagine that I
remain at the same pitch, and must suggest to myself that I am
striking the same tone again. The form may gradually be a little
modified at the upper end: that is, the soft palate is lowered very
carefully behind the nose: keeping almost always to the form employed
for the highest tone, sing the figure to its end, toward the nose,
with the help of the vowel _oo_. (This auxiliary vowel _oo_ means
nothing more than that the larynx is slowly lowered in position.)
When this happens, the resonance of the head cavities is diminished,
that of the palate increased; for the soft palate sinks, and the
pillars of the fauces are raised more and more. Yet the head tone must
not be entirely free from palatal resonance. Both remain to the last
breath united, mutually supporting each other in ascending and
descending passages, and alternately but inaudibly increasing and
diminishing.
These things go to make up the form:--
The raising and lowering of the soft palate, and the corresponding
lowering and raising of the pillars of the fauces.
The proper position of the tongue: the tip rests on the lower front
teeth--mine even as low as the roots of the teeth.
The back of the tongue must stand high and free from the throat, ready
for any movement. A furrow must be formed in the tongue, which is
least prominent in the lowest tones, and in direct head tones may even
completely disappear. As soon as the tone demands the palatal
resonance, the furrow must be made prominent and kept so. In my case
it can always be seen. This is one of the most important matters, upon
which too much emphasis can hardly be laid. As soon as the furrow in
the tongue shows itself, the tone must sound right; for then the mass
of the tongue is kept away from the throat, and, since its sides are
raised, it is kept out of the way of the tone.
[Illustration: Side of the tongue kept high.
Furrow.]
[Illustration: Red line denotes:
Sensation in raising the soft palate for high notes.
Sensation of the form in rapid upward passages.
Division of the breath favors the resonance of head cavities.]
It lies flattest in the lowest tones because the larynx then is in
a very low position, and thus is out of its way.
[Illustration: Red line denotes sensation of the form in slow
progression of tones.]
[Illustration: Red line denotes sensation for the propagation form.]
Furthermore, there is the unconstrained position of the larynx, which
must be maintained without pressure of the throat muscles. From it the
breath must stream forth evenly and uninterruptedly, to fill the form
prepared for it by the tongue and palate and supported by the throat
muscles.
This support must not, however, depend in the least upon
_pressure_,--for the vibrating breath must float above,--but upon the
greatest elasticity. One must play with the muscles, and be able to
contract and relax them at pleasure, having thus perfect mastery over
them. For this incessant practice is required, increasing control of
the breath through the sense of hearing and the breath pressure.
At first a very strong will power is needed to hold the muscles tense
without pressure; that is, to let the tone, as it were, soar through
the throat, mouth, or cavities of the head.
The stronger the improper pressure in the production of the tone, the
more difficult it is to get rid of. The result is simply, in other
words, a strain. The contraction of the muscles must go only so far
that they can be slowly relaxed; that is, can return to their normal
position _easily_. Never must the neck be swelled up, or the veins in
it stand out. Every convulsive or painful feeling is wrong.
SECTION VI
THE ATTACK
To attack a tone, the breath must be directed to a focal point on the
palate, which lies under the critical point for each different tone;
this must be done with a certain decisiveness. There must, however, be
no pressure on this place; for the overtones must be able to soar
above, and sound with, the tone. The palate has to furnish, besides,
the top cover against which the breath strikes, also an extremely
elastic floor for the breath sounding above it against the hard palate
or in the nose.
This breath, by forming the overtones, makes certain the connection
with the resonance of the head cavities.
In order to bring out the color of the tone the whirling currents must
vivify all the vowel sounds that enter into it, and draw them into
their circles with an ever-increasing, soaring tide of sound.
The duration of the tone must be assured by the gentle but
uninterrupted outpouring of the breath behind it. Its strength must be
gained by the breath pressure and the focal point on the palate, by
the complete utilization of the palatal resonance; without, however,
injuring the resonance of the head cavities. (See plate, representing
the attack.)
[Illustration: Sensation of pitch.
Red line denotes sensation in the attack.]
SECTION VII
NASAL. NASAL SINGING
By raising the back of the tongue toward the soft palate and lowering
the soft palate toward the tongue, we produce nasal sound, such as is
heard in the pronunciation of the word "hanger," for instance. The air
is then expelled chiefly through the nose. The nasal sound can be much
exaggerated--something that very rarely happens; it can be much
neglected--something that very often happens. Certain it is that it is
not nearly enough availed of. That is my own everyday experience.
We Germans have only small opportunity to make the acquaintance of the
nasal sound; we know it in only a few words: "E_ng_el," "la_ng_e,"
"ma_ng_el," etc.,--always where _ng_ occurs before or after a vowel.
The French, on the contrary, always sing and speak nasally, with the
pillar of the fauces raised high, and not seldom exaggerate it. On
account of the rounding up of the whole soft palate, which, through
the power of habit, is cultivated especially by the French to an
extraordinary degree, and which affords the breath an enormous space
as a resonating surface to act upon, their voices often sound
tremendous. The tenor Silva is a good example of this. Such voices
have only the one drawback of easily becoming monotonous. At first
the power of the organ astonishes us; the next time we are
disappointed--the tone color remains always the same. The tone often
even degenerates into a hollow quality.
[Illustration: Red lines denote movement of the tongue and palate for
the nasal tone.]
On the other hand, voices that are not sufficiently nasal sound clear
and expressionless. Madame Melba, for instance, whose voice is
cultivated to favor the head tones, and sounds equally well in all its
ranges, apparently lowers the pillars of the fauces too much, and
has her chief resonance in the head cavities; she cannot draw upon the
palatal resonance for single accents of expression. Consequently she
loses in vocal color. This procedure, as soon as it becomes a habit,
results in monotony.
In the first case somewhat less, in the second somewhat more, nasal
resonance would help to a greater variety of effect.
There are singers, too, who pursue the middle path with consummate
art. Thus Madame Sembrich, in recent years, appears to have devoted
very special study to nasal tones, whereby her voice, especially in
the middle register, has gained greatly in warmth.
To fix the pupil's attention on the nasal tone and the elasticity of
the palate, he should often be given exercises with French words.
SECTION VIII
SINGING TOWARD THE NOSE. HEAD VOICE
When the peak of the softest part of the palate is placed forward
toward the nose, instead of being drawn up high behind the nose, as in
the head voice (see plate, head voice and nasal tone), it forms a kind
of nasal production which, as I have already said, cannot be studied
enough, because it produces very noble tonal effects and extraordinary
connections. It ought always to be employed. By it is effected the
connection of tones with each other, from the front teeth back to a
point under the nose; from the lower middle tones to the head tones.
In truth, all the benefit of tonal connection depends upon this
portion of the soft palate; that is, upon its conscious employment.
This is all that singers mean when they speak of "nasal
singing"--really only singing toward the nose. The soft palate placed
toward the nose offers a resonating surface for the tone.
The reason why teachers tell their pupils so little of this is that
many singers are quite ignorant of what nasal singing means, and are
tormented by the idea of "singing toward the nose," when by chance
they hear something about it. They generally regard the voice as one
complete organ acting by itself, which is once for all what it is.
What can be made of it through knowledge of the functions of all the
cooeperating organs they know nothing of.
Blind voices are often caused by the exaggerated practice of closing
off the throat too tightly from the head cavities; that is, drawing
the pillars of the fauces too far toward the wall of the throat. The
large resonating chamber thus formed yields tones that are powerful
close at hand, but they do not carry, because they are poor in
overtones. The mistake consists in the practice of stretching the
pillars too widely in the higher vocal ranges, also. In proportion as
the pillars are extended, the breath spreads over the entire palate,
instead of being concentrated on only one point of it, and bringing at
the same time the resonance of the head cavities into play. The soft
palate must first be drawn up to, then behind, the nose, and the
attack of the higher tones be transferred thither. The pillars of the
fauces must necessarily be relaxed by this action of the soft palate.
Thereby breath is introduced into the cavities of the head to form the
overtones, which contribute brilliancy and freshness to the voice.
Many singers persist in the bad habit here described, as long as
nature can endure it; in the course of time, however, even with the
most powerful physiques, they will begin to sing noticeably flat; with
less powerful, the fatal tremolo will make its appearance, which
results in the ruin of so many singers.
[Illustration: Red lines denote vocal sensations of soprano and tenor
singers.]
[Illustration: The singer's nasal tone.
Red line denotes:
The soft palate raised high in the back, for further progression with
the head tone.
Vocal sensation.
Red line denotes:
Soft palate drawn toward the nose, for a descending progression.
Vocal sensation.]
SECTION IX
THE HEAD VOICE
The head tone signifies, for all voices, from the deepest bass to the
highest soprano,--excepting for the fact that it furnishes the
overtones for each single tone of the whole vocal gamut,--youth. A
voice without vibrancy is an _old_ voice. The magic of youth,
freshness, is given by the overtones that sound with every tone.
So to utilize the head voice (resonance of the head cavities) that
every tone shall be able to "carry" and shall remain high enough to
reach higher tones easily, is a difficult art, without which, however,
the singer cannot reckon upon the durability of his voice. Often
employed unconsciously, it is lost through heedlessness, mistaken
method, or ignorance; and it can hardly ever be regained, or, if at
all, only through the greatest sacrifice of time, trouble, and
patience.
The _pure_ head voice (the third register) is, on account of the
thinness that it has by nature, the neglected step-child of almost all
singers, male and female; its step-parents, in the worst significance
of the word, are most singing teachers, male and female. It is
produced by the complete lowering of the pillars of the fauces, while
the softest point of the palate--behind the nose--is thrown up very
high, seemingly, almost into the head; in the highest position, as it
were, above the head.
The rear of the tongue stands high, but is formed into a furrow, in
order that the mass of the tongue may not be in the way, either in the
throat or in the mouth. In the very highest falsetto and head tones
the furrow is pretty well filled out, and then no more breath at all
reaches the palatal resonance.
The larynx stands high--mine leans over to one side. (See plates of
larynx.)
[Illustration:
A
Normal position of the larynx.
B
The position of my larynx in the high range.]
The vocal cords, which we cannot feel, now approach very near each
other. The pupil should not read about them until he has learned to
hear correctly. I do not intend to write a physiological work, but
simply to attempt to examine certain infallible vocal sensations of
the singer; point out ways to cure evils, and show how to gain a
correct understanding of that which we lack.
Up to a certain pitch, with tenors as well as with sopranos, the head
tones should be mixed with palatal resonance. With tenors this will be
a matter of course, though with them the chest tones are much abused;
with sopranos, however, a judicious mixture may be recommended because
more expression is required (since the influence of Wagner has become
paramount in interpreting the meaning of a composition, especially of
the words) than in the brilliant fireworks of former times. The head
voice, too, must not be regarded as a definite register of its own,
which is generally produced in the middle range through too long a
persistence in the use of the palatal and nasal resonance. If it is
suddenly heard alone, after forcing tones that have preceded it, which
is not possible under other circumstances, it is of course noticeably
thin, and stands out to its disadvantage--like every other sharply
defined register--from the middle tones. In the formation of the voice
no "register" should exist or be created; the voice must be made even
throughout its entire range. I do not mean by this that I should sing
neither with chest tones nor with head tones. On the contrary, the
practised artist should have at his command all manner of different
means of expression, that he may be able to use his single tones,
according to the expression required, with widely diverse qualities of
resonance. This, too, must be cared for in his studies. But these
studies, because they must fit each individual case, according to the
genius or talent of the individual, can be imparted and directed only
by a good teacher.
The head voice, when its value is properly appreciated, is the most
valuable possession of all singers, male and female. It should not be
treated as a Cinderella, or as a last resort,--as is often done too
late, and so without results, because too much time is needed to
regain it, when once lost,--but should be cherished and cultivated as
a guardian angel and guide, like no other. Without its aid all voices
lack brilliancy and carrying power; they are like a head without a
brain. Only by constantly summoning it to the aid of all other
registers is the singer able to keep his voice fresh and youthful.
Only by a careful application of it do we gain that power of endurance
which enables us to meet the most fatiguing demands. By it alone can
we effect a complete equalization of the whole compass of all voices,
and extend that compass.
This is the great secret of those singers who keep their voices young
till they reach an advanced age. Without it all voices of which great
exertions are demanded infallibly meet disaster. Therefore, the motto
must be always, practice, and again, practice, to keep one's powers
uninjured; practice brings freshness to the voice, strengthens the
muscles, and is, for the singer, far more interesting than any musical
composition.
If in my explanations I frequently repeat myself, it is done not
unintentionally, but deliberately, because of the difficulty of the
subject, as well as of the superficiality and negligence of so many
singers who, after once hastily glancing through such a treatise,--if
they consider it worth their while at all to inform themselves on the
subject,--think they have done enough with it.
One must read continually, study constantly by one's self, to gain
even a faint idea of the difficulty of the art of singing, of managing
the voice, and even of one's own organs and mistakes, which are one's
second self. The phenomenon of the voice is an elaborate complication
of manifold functions which are united in an extremely limited space,
to produce a single tone; functions which can only be heard, scarcely
felt--indeed, should be felt as little as possible. Thus, in spite of
ourselves, we can only come back again to the point from which we
started, as in an eddy, repeating the explanations of the single
functions, and relating them to each other.
Since in singing we sense none of the various activities of the
cartilage, muscles, ligaments, and tendons that belong to the vocal
apparatus, feel them only in their cooeperation, and can judge of the
correctness of their workings only through the ear, it would be absurd
to think of them while singing. We are compelled, in spite of
scientific knowledge, to direct our attention while practising, to the
sensations of the voice, which are the only ones we can become aware
of,--sensations which are confined to the very palpable functions of
the organs of breathing, the position of the larynx, of the tongue,
and of the palate, and finally, to the sensation of the resonance of
the head cavities. The perfect tone results from the combined
operations of all these functions, the sensations of which I undertake
to explain, and the control of which the ear alone can undertake.
This is the reason why it is so important to learn to hear one's self,
and to sing in such a way that one can always so hear.
Even in the greatest stress of emotion the power of self-control must
never be lost; you must never allow yourself to sing in a slovenly,
that is, in a heedless, way, or to exceed your powers, or even to
reach their extreme limit. That would be synonymous with roughness,
which should be excluded from every art, especially in the art of
song. The listener must gain a pleasing impression from every tone,
every expression of the singer; much more may be given if desired.
Strength must not be confounded with roughness; and the two must not
go hand in hand together. Phenomenal beings may perhaps be permitted
to go beyond the strength of others; but to the others this must
remain forbidden. It cannot become a regular practice, and is best
limited to the single phenomenon. We should otherwise soon reach the
point of crudest realism, from which at best we are not far removed.
Roughness will never attain artistic justification, not even in the
case of the greatest individual singers, because it is an offence.
The public should witness from interpretative art only what is good
and noble on which to form its taste; there should be nothing crude or
commonplace put before it, which it might consider itself justified in
taking as an example.
Of the breath sensation I have already spoken at length. I must add
that it is often very desirable in singing to breathe through the
nose with the mouth closed; although when this is done, the raising of
the palate becomes less certain, as it happens somewhat later than
when the breath is taken with the mouth open. It has, however, this
disadvantage, that neither cold air nor dust is drawn into the larynx
and air passages. I take pleasure in doing it very often. At all
events, the singer should often avail himself of it.
We feel the larynx when the epiglottis springs up ("stroke of the
glottis," if the tone is taken from below upward). We can judge
whether the epiglottis springs up quickly enough if the breath comes
out in a full enough stream to give the tone the necessary resonance.
The low position of the larynx can easily be secured by pronouncing
the vowel _oo_; the high, by pronouncing the vowel _[=a]_. Often
merely thinking of one or the other is enough to put the larynx,
tongue, and palate in the right relations to each other. Whenever I
sing in a high vocal range, I can plainly feel the larynx rise and
take a diagonal position. (See plate.)
The movement is, of course, very slight. Yet I have the feeling in my
throat as if everything in it was stretching. I feel the pliability of
my organs plainly as soon as I sing higher.
SECTION X
SENSATION AND POSITION OF THE TONGUE
We feel the placing of its tip against or beneath the front teeth; and
place the tip very low, so that it really curves over in front. (See
plate.)
Its hinder part must be drawn back toward the palate, in the
pronunciation of every letter.
Furthermore, by looking in the mirror we can _see_ that the sides of
the tongue are raised as soon as we wish to form a furrow in it; that
is, as we _must_ do to produce the palatal resonance. (Only in the
head tone--that is, the use of the resonance of the head cavities
without the added palatal resonance--has the tongue no furrow; it
must, however, lie very high, since otherwise its mass, when it lies
flat, presses against the larynx and produces pinched or otherwise
disagreeable tones.)
The best way is to get the mass of the tongue out of the way by
forming the furrow in it. In high notes, when the larynx must stand as
high as possible, the back of the tongue also must stand very high;
but since there is a limit to this, we are often compelled to make the
larynx take a lower position.
[Illustration: Correct. Incorrect.]
The correct position of the tongue, preparatory to singing, is gained
by saying the vowel sound _aou_, as if about to yawn.
The tongue must not scrape around upward with its tip. As soon as the
tip has been employed in the pronunciation of the consonants _l_, _n_,
_s_, _t_, and _z_, in which its service is very short and sharp, it
must return to its former position, and keep to it.
It is best to watch the movements of the tongue in the mirror until we
have formed the correct habit permanently. The more elastic the tongue
is in preparing the form for the breath to pass through, the stiller
will it appear, the stiller will it feel to us. It is well, however,
for a considerable time to watch in a mirror all functions of the
organs that can be seen; the expression of the face, the position of
the mouth, and the movement of the lips.
SECTION XI
THE SENSATIONS OF THE PALATE
The sensations of the palate are best made clear to us by raising the
softest part behind the nose. This part is situated very far back. Try
touching it carefully with the finger. This little part is of
immeasurable importance to the singer. By raising it the entire
resonance of the head cavities is brought into play--consequently the
head tones are produced. When it is raised, the pillars of the fauces
are lowered. In its normal position it allows the pillars to be
distended and to close the head cavities off from the throat, in order
to produce the chest tones; that is, to permit the breath to make
fullest use of the palatal resonance. As soon as the soft palate is
lowered under the nose, it makes a point of resonance for the middle
range of voice, by permitting the overtones to resound at the same
time in the nose. (See plate, middle range.)
[Illustration: Red lines denote middle range of soprano, contralto,
and tenor.
In the German names of the notes, _h_ represents _b_ in the English.]
[Illustration: Red line denotes peak, or softest point of the palate.]
Thus the palate performs the whole work so far as concerns the
different resonances, which can be united and separated by it, but
must _always work together in close relation, always bound together in
all tones, in all kinds of voices_.
The lowest chest tones of the bass, the highest head tones of the
soprano, are thus the two poles between which the entire gamut of all
voices can be formed. From this it can be perceived that with a
certain degree of skill and willingness to work, every voice will be
capable of great extension.
SECTION XII
THE SENSATION OF THE RESONANCE OF THE HEAD CAVITIES
The sensation of the resonance of the head cavities is perceived
chiefly by those who are unaccustomed to using the head tones. The
resonance against the occipital walls of the head cavities when the
head tones are employed, at first causes a very marked irritation of
the nerves of the head and ear. But this disappears as soon as the
singer gets accustomed to it. The head tones can be used and directed
by the breath only with a clear head. The least depression such as
comes with headaches, megrim, or moodiness may have the worst effect,
or even make their use quite impossible. This feeling of oppression is
lost after regular, conscious practice, by which all unnecessary and
disturbing pressure is avoided. In singing very high head tones I have
a feeling as if they lay high above the head, as if I were setting
them off into the air. (See plate.)
Here, too, is the explanation of singing _in the neck_. The breath, in
all high tones which are much mixed with head tones or use them
entirely, passes very far back, directly from the throat into the
cavities of the head, and thereby, and through the oblique position of
the larynx, gives rise to the sensations just described. A singer who
inhales and exhales carefully, that is, with knowledge of the
physiological processes, will always have a certain feeling of
pleasure, an attenuation in the throat as if it were stretching itself
upward. The bulging out of veins in the neck, that can so often be
seen in singers, is as wrong as the swelling up of the neck, looks
very ugly, and is not without danger from congestion.
With rapid scales and trills one has the feeling of great firmness of
the throat muscles, as well as of a certain stiffness of the larynx.
(See "Trills.") An unsteady movement of the latter, this way and that,
would be disadvantageous to the trill, to rapid scales, as well as to
the cantilena. For this reason, because the changing movements of the
organs must go on quite imperceptibly and inaudibly, it must be more
like a shifting than a movement. In rapid scales the lowest tone must
be "placed" with a view to the production of the highest, and in
descending, the greatest care must be exercised that the tone shall
not tumble over each other single, but shall produce the sensation of
closely connected sounds, through being bound to the high tone
position and pressed toward the nose.
In this all the participating vocal organs must be able to keep up a
muscular contraction, often very rigid: a thing that is to be achieved
only gradually through long years of careful and regular study.
Excessive practice is of no use in this--only regular and
intelligent practice; and success comes only in course of time.
[Illustration: Red line denotes vocal sensation of soprano and tenor.]
Never should the muscular contractions become convulsive and produce
pressure which the muscles cannot endure for a long time. They must
respond to all necessary demands upon their strength, yet remain
elastic in order that, easily relaxing or again contracting, they may
promptly adapt themselves to every nuance in tone and accent desired
by the singer.
A singer can become and continue to be master of his voice and means
of expression only as long as he practises daily correct vocal
gymnastics. In this way alone can he obtain unconditional mastery over
his muscles, and, through them, of the finest controlling apparatus,
of the beauty of his voice, as well as of the art of song as a whole.
Training the muscles of the vocal organs so that their power to
contract and relax to all desired degrees of strength, throughout the
entire gamut of the voice, is always at command, makes the master
singer.
As I have already said, the idea of "singing forward" leads very many
singers to force the breath from the mouth without permitting it to
make full use of the resonating surfaces that it needs, yet it streams
forth from the larynx really very far back in the throat, and the
straighter it rises in a column behind the tongue, the better it is
for the tone. The tongue must furnish the surrounding form for this,
for which reason it must not lie flat in the mouth. (See plate, the
tongue.)
The whirling currents of tone circling around their focal point (the
attack) find a cup-shaped resonating cavity when they reach the front
of the mouth and the lips, which, through their extremely potent
auxiliary movements, infuse life and color into the tone and the word.
Of equal importance are the unimpeded activity of the whirling
currents of sound and their complete filling of the resonating
spaces in the back of the throat, the pillars of the fauces, and the
head cavities in which the vocalized breath must be kept soaring above
the larynx and _soaring undisturbed_.
In the lowest range of the voice the entire palate from the front
teeth to the rear wall of the throat must be thus filled. (See plate.)
[Illustration: Red lines denote division of the breath in the palatal
resonance: lower range of male and female voices.]
With higher tones the palate is lowered, the nostrils are inflated,
and above the hard palate a passage is formed for the overtones. (See
plate.)
[Illustration: Red lines denote division of the breath in the middle
range and higher middle range.]
This air which soars above must, however, not be in the least
compressed; the higher the tone, the less pressure should there be;
for here, too, whirling currents are formed, which must be neither
interrupted nor destroyed. The breath must be carried along on the
wall of the throat without compression, in order to accomplish its
work. (See plate, high tones.)
[Illustration: Resonance of the cavity of the forehead.
Red lines denote division of the breath in the resonance of the head
cavities, high range.]
Singing forward, then, does not mean pressing the whole of the
_breath_ or the tone forward, but only part of it; that is, in the
middle register, finding a resonating focus in front, caused by the
lowering of the front of the palate. This permits a free course only
to that part of the breath which is used up by the whirling currents
in the resonant throat form, and serves to propagate the outer waves,
and carry them farther through space.
SECTION XIII
SINGING COVERED
We sing covered as soon as the soft palate is lowered toward the nose
(that is, in the middle register), and the resonance and attack are
transferred thither so that the breath can flow over the soft palate
through the nose.
This special function of the palate, too, should be carefully prepared
for in the tones that precede it, and mingled with them, in order not
to be heard so markedly as it often is. In men's voices this is much
more plainly audible than in women's; but both turn it to account
equally on different tones. This often produces a new register that
should not be produced. This belongs to the chapter on registers.
[Music illustration]
The tone is concentrated on the front of the palate instead of being
spread over all of it--but this must not be done too suddenly. [See
illustrations on pages 127, 129, 131, 133.]
[Illustration: Red lines denote covered tones for contralto and
soprano.]
[Illustration: Red lines denote covered tones for bass and baritone.]
[Illustration: Red lines denote change of attack. (Soprano, contralto,
and tenor.)]
[Illustration: Red lines denote change of attack. (Bass and
baritone.)]
SECTION XIV
ON VOCAL REGISTERS
What is a vocal register?
A series of tones sung in a certain way, which are produced by a
certain position of the vocal organs--larynx, tongue, and palate.
Every voice includes three registers--chest, middle, and head. But all
are not employed in every class of voice.
Two of them are often found connected to a certain extent in
beginners; the third is usually much weaker, or does not exist at all.
Only very rarely is a voice found naturally equalized over its whole
compass.
Do registers exist by nature? No. It may be said that they are created
through long years of speaking in the vocal range that is easiest to
the person, or in one adopted by imitation, which then becomes a
fixed habit. If this is coupled with a natural and proper working of
the muscles of the vocal organs, it may become the accustomed range,
strong in comparison with others, and form a register by itself. This
fact would naturally be appreciated only by singers.
If, on the other hand, the muscles are wrongly employed in speaking,
not only the range of voice generally used, but the whole voice as
well, may be made to sound badly. So, in every voice, one or another
range may be stronger or weaker; and this is, in fact, almost always
the case, since mankind speaks and sings in the pitch easiest or most
accustomed, without giving thought to the proper position of the
organs in relation to each other; and people are rarely made to pay
attention as children to speaking clearly and in an agreeable voice.
In the most fortunate instances the range thus practised reaches
limits on both sides, not so much those of the person's power, as
those set by his lack of skill, or practice. Limitations are put on
the voice through taking account only of the easiest and most
accustomed thing, without inquiring into the potentialities of the
organs or the demands of art.
[Illustration: Red lines denote a register is formed when as many
tones as possible are forced upon one and the same point of resonance.
(Bass and baritone.)]
[Illustration: Red lines denote a register is formed when as many
tones as possible are forced upon one and the same point of resonance.
(Soprano, contralto, and tenor.)]
Now, suppose such a peculiarity which includes, let us say, three or
four tones, is extended to six or eight, then, in the course of time,
in the worst cases, a break is produced at the outside limits. In the
most favorable cases the tones lying next beyond these limits are
conspicuously weak and without power compared with those previously
forced. This one way of singing can be used no farther; another must
be taken up, only, perhaps, to repeat farther the incorrect procedure.
Three such limits or ways of singing can be found and used. Chest,
middle, and head voice, all three form registers when exaggerated; but
they should be shaded off and melt into each other. The organs,
through the skilful training of the teacher, as well as by the
exercise of the pupil's talent and industry, must be accustomed to
taking such positions that one register leads into another
imperceptibly. In this way beauty, equality, and increased compass of
the voice will be made to enhance its usefulness.
When the three ways of singing are too widely different and too
sharply contrasted, they become separate registers. These are
everywhere accepted as a matter of course, and for years have been a
terror in the teaching of singing, that has done more than anything
else to create a dreadful bewilderment among singers and teachers. To
eradicate it is probably hopeless. Yet, these registers are nothing
more than three disconnected manners of using the vocal and resonating
apparatus.
With all the bad habits of singers, with all the complete ignorance of
cause and effect, that prevail, it is not surprising that some pretend
to tell us that there are two, three, four, or five registers,
although as a matter of fact there can be at most three in any voice.
It will be much more correct to call every tone of every voice by the
name of a new additional register, for in the end, every tone will and
_must_ be taken in a different relation, with a different position of
the organs, although the difference may be imperceptible, if it is to
have its proper place in the whole. People cling to the appellations
of chest, middle, and head _register_, confounding voice with
register, and making a hopeless confusion, from which only united and
very powerful forces can succeed in extricating them.
As long as the word "register" is kept in use, the registers will not
disappear. And yet, the register question must be swept away, to give
place to another class of ideas, sounder views on the part of
teachers, and a truer conception on the part of singers and pupils.
SECTION XV
DEVELOPMENT AND EQUALIZATION
Naturally, a singer can devote more strength to the development of one
or two connected ranges of his voice than to a voice perfectly
equalized in all its accessible ranges. For this are required many
years of the most patient study and observation, often a
long-continued or entire sacrifice of one or the other limit of a
range for the benefit of the next-lying weaker one; of the head voice
especially, which, if unmixed, sounds uneven and thin in comparison
with the middle range, until by means of practised elasticity of the
organs and endurance of the throat muscles a positive equalization can
take place.
Voices which contain only one or two registers are called short
voices, for their availability is as limited as they are themselves.
Yet it must be remembered that all voices alike, whether short or
long, even those of the most skilful singers, when age comes on, are
apt to lose their highest ranges, if they are not continually
practised throughout their entire compass with the subtlest use of the
head tones. Thence it is to be concluded that a singer ought always to
extend the compass of his voice as far as possible, in order to be
certain of possessing the compass that he needs.
On the formation of the organs depends much of the character of the
voice. There are strong, weak, deep, and high voices by nature; but
every voice, by means of proper study, can attain a certain degree of
strength, flexibility, and compass.
Unfortunately, stubbornness enters largely into this question, and
often works in opposition to the teacher. Many, for instance, wish to
be altos, either because they are afraid of ruining their voices by
working for a higher compass, or because it is easier for them, even
if their voices are not altos at all.
Nowadays operas are no longer composed for particular singers and the
special characteristics of their voices. Composers and librettists
express what they feel without regard to an alto singer who has no
high C or a soprano who has no low A flat or G. But the _artist_ will
always find what he needs.
Registers exist in the voices of almost all singers, but they ought
not to be heard, ought not, indeed, to exist. Everything should be
sung with a mixed voice in such a way that no tone is forced at the
expense of any other. To avoid monotony the singer should have at his
disposal a wealth of means of expression in all ranges of his voice.
(See the Varieties of Attack and Dynamic Power.) Before all else he
should have knowledge of the advantages in the resonance of certain
tones, and of their connection with each other. The _soul_ must
provide the color; skill and knowledge as to cause and effect,
management of the breath, and perfection of the throat formation must
give the power to produce every dynamic gradation and detail of
expression. Registers are, accordingly, produced when the singer
forces a series of tones, generally ascending, upon one and the same
resonating point, instead of remembering that in a progression of
tones no one tone can be exactly like another, because the position of
the organs must be different for each. The palate must remain elastic
from the front teeth to its hindmost part, mobile and susceptible,
though imperceptibly, to all changes. Very much depends on the
continuous harmony of action of the soft and hard palate, which must
always be in full evidence, the raising and extension of the former
producing changes in the tone. If, as often happens when the registers
are sharply defined, tones fall into a _cul de sac_, escape into
another register is impossible, without a jump, which may lead to
disaster. With every tone that the singer has to sing, he must always
have the feeling that he _can_ go higher, and that the attack for
different tones must not be forced upon one and the same point.
The larynx must not be _suddenly_ pressed down nor jerked up, except
when this is desired as a special effect. That is, when one wishes to
make a transition, _legato_, from a chest tone to a tone in the middle
or head register, as the old Italians used to do, and as I, too,
learned to do, thus:--
[Music illustration]
In this case the chest tone is attacked very nasal, in order that the
connection may remain to the upper note, and the larynx is suddenly
jerked up to the high tone. This was called breaking the tone; it was
very much used, and gave fine effects when it was well done. I use it
to-day, especially in Italian music, where it belongs. It is an
exception to the rule for imperceptible or inaudible change of
position of the organs,--that it should not be made _suddenly_.
The scale proceeds from one semitone to another; each is different;
each, as you go on, requires greater height, wherefore the position of
the organs cannot remain the same for several different tones. But, as
there should never be an abrupt change audible in the way of singing,
so should there never be an abrupt change felt in the sensations of
the singer's throat. Every tone must be imperceptibly prepared in an
elastic channel and must produce an easy feeling in the singer, as
well as an agreeable impression upon the listener.
The small peak indicated in the illustration is enormously extensible
and can be shifted into infinite varieties of position. However
unimportant its raising and lowering may appear, they are nevertheless
of great importance for the tone and the singer. The focal point of
the breath, that forms simultaneously the attack and the body of the
tone, by the operation of the abdominal breath pressure against the
chest, is always firmly placed on, beneath, or behind the nose.
Without body even the finest pianissimo has no significance. The very
highest unmixed head tones are an exception, and they can express
nothing. There can be no body expected in them. Their soaring quality
of sound endures no pressure, and consequently gives no expression,
which is possible only through an admixture of palatal resonance.
Their only significance is gained through their pure euphony.
All vowels, too, must keep their point of resonance uninterruptedly on
the palate. All beauty in the art of song, in cantilena as well as in
all technique, consists chiefly in uninterrupted connection between
the tone and the word, in the flexible connection of the soft palate
with the hard, in the continually elastic adjustment of the former
to the latter. This means simply the elastic form, which the breath
must fill in every corner of resonating surface without interruption,
as long as the tone lasts.
[Illustration: Red line denotes softest point on the palate.]
If the singer will control his tone,--and in practising he must always
do so,--he needs only to test it to see whether he can easily make it
softer without perceptible change in the position of the organs, and
carry it higher toward the nose and the cavities of the forehead; that
is, prepare a form for its continuation upward.
_In this way he can learn how much height a tone needs without being
too high, and how much it often lacks in height and duration to sound
high enough._
In this way remarkable faults become evident! The reason why a tone
sounds too low--the so-called transition tones from the lower to the
middle range and from this to the higher, come up for consideration
chiefly--is that the pillars of the fauces are raised too high toward
the back, preventing the head tones from sounding at the same time; or
the soft palate is lowered too far under the nose, which results in
pressing the tone too long and too far toward the teeth. This fault is
met with in very many singers, in all kinds of voices, and in almost
the same places. It comes only from an unyielding retention of the
same resonating point for several tones and a failure to bring in the
resonance of the head cavities. The "propagation form," or continuing
form,[2] must always be prepared consciously, for without it artistic
singing is not to be thought of.
[Footnote 2: "Fortpflanzungsform": the preparation made in the vocal
organs for taking the next tone before leaving the one under
production, so that the succeeding tones shall all be of like
character and quality.]
The neglect of this most important principle usually results in
overstraining the vocal cords and throat muscles. This is followed
first by singing flat, and later by the appearance of the hideous
tremolo (see Tremolo) to which so many singers fall victims. The
cause of a tone's being too sharp is the dwelling too long on the
resonance of the head cavities, where the tone should already have
been mixed with palatal resonance. With very young voices this can
easily happen, and can also result from weariness, when the bodily
strength is not developed sufficiently to endure the fatigue of
practising. A very circumspect course must then be followed.
SECTION XVI
WHITE VOICES
There are also singers, male and female, who use too much head tone
through their entire compass; such voices are called "white." Their
use of the palatal resonance being insufficient, they are not able to
make a deeper impression, because their power of expression is
practically nothing. Frau Wedekind and Madame Melba are instances of
this. In such cases it would be advisable to raise the pillars of the
fauces a little higher, and place the larynx somewhat lower, and to
mingle judiciously with all the other vowels, the vowel sound _oo_,
that requires a lower position of the larynx. The voices would become
warmer and would sound more expressive. As soon as the singer is able
to create easily and inaudibly on every tone the correct propagation
form for the next tone, all questions as to register must disappear.
He must not, however, be drilled on _registers_; several tones must
not be forced on one and the same point. Every tone should be put
naturally into its own place; should receive the pitch, duration, and
strength it needs for its perfection. And one master rules it
all,--the ear!
The goal is, unfortunately, so seldom reached because it can be
reached only through the moderation that comes from mastery; and,
alas! only true masters practise it.
It may be accepted as true that the lower ranges of the voice have the
greatest strength, the middle ranges the greatest power of expression,
the higher the greatest carrying power.
The best mixture--all three together--may be developed to the highest
art by the skill of the individual, often, indeed, only by a good ear
for it. Whenever expression of the word's significance, beauty of the
vocal material, and perfection of phrasing are found united in the
highest degree, it is due either to knowledge or to a natural skill in
the innumerable ways of fitting the sung word to the particular
resonance--connections that are suitable to realize its significance,
and hence its spirit. They are brought out by a stronger inclination
toward one or the other of the resonance surfaces, without, however,
injuring the connection or the beauty of the musical phrase. Here
aesthetic feeling plays the chief part, for whatever may be its power
and its truthfulness, the result must always be beautiful,--that is,
restrained within proper limits.
This law, too, remains the same for all voices. It is a question of
the entire compass of a voice trained for artistic singing, one that
is intrusted with the greatest of tasks, to interpret works of art
that are no popular songs, but, for the most part, human tragedies.
Most male singers--tenors especially--consider it beneath them,
generally, indeed, unnatural or ridiculous, to use the falsetto,
which is a part of all male voices, as the head tones are a part of
all female voices. They do not understand how to make use of its
assistance, because they often have no idea of its existence, or know
it only in its unmixed purity--that is, its thinnest quality. Of its
proper application they have not the remotest conception. Their
singing is generally in accordance with their ignorance.
The mixture is present by nature in all kinds of voices, but singers
must possess the skill and knowledge to employ it, else the natural
advantage goes for nothing.
SECTION XVII
THEODOR WACHTEL
The most perfect singer that I remember in my Berlin experience was
Theodor Wachtel in this respect, that with his voice of rare splendor,
he united all that vocal art which, as it seems, is destined quite to
disappear from among us. How beautiful were his coloratura, his
trills,--simply flawless! Phrasing, force, fulness of tone, and beauty
were perfect, musically without a blemish. If he did not go outside
the range of Arnold, G. Brown, Stradella, Vasco, the Postillion and
Lionel, it was probably because he felt that he was not equal to
interpreting the Wagnerian spirit. In this he was very wise. As one of
the first of vocal artists, whose voice was superbly trained and was
preserved to the end of his life, I have had to pay to Wachtel the
tribute of the most complete admiration and recognition, in contrast
to many others who thought themselves greater than he, and yet were
not worthy to unloose the latchet of his shoes.
Recently the little Italian tenor Bonci has won my hearty admiration
for his splendidly equalized voice, his perfect art, and his knowledge
of his resources; and notwithstanding the almost ludicrous figure that
he cut in serious parts, he elicited hearty applause. Cannot German
tenors, too, learn to sing _well_, even if they do interpret Wagner?
Will they not learn, for the sake of this very master, that it is
their duty not to use their voices recklessly?
Is it not disrespectful toward our greatest masters that they always
have to play hide and seek with the _bel canto_, the trill, and
coloratura? Not till one has fully realized the difficulties of the
art of song, does it really become of value and significance. Not till
then are one's eyes opened to the duty owed not only to one's self
but to the public.
The appreciation of a difficulty makes study doubly attractive; the
laborious ascent of a summit which no one can contest, is the
attainment of a goal.
Voices in which the palatal resonance--and so, power--is the
predominating factor, are the hardest to manage and to preserve. They
are generally called chest voices. Uncommon power and fulness of tone
in the middle ranges are extremely seductive. Only rarely are people
found with sense enough to renounce such an excess of fulness in favor
of the head tones,--that is, the least risky range to exploit and
preserve,--even if this has to be done only temporarily.
Copious vocal resources may with impunity be brought before the public
and thereby submitted to strain, only after long and regular study.
The pure head tone, without admixture of palatal resonance, is feeble
close at hand, but penetrating and of a carrying power equalled by no
other. Palatal resonance without admixture of the resonance of the
head cavities (head tones) makes the tone very powerful when heard
near by, but without vibrancy for a large auditorium. This is the
proof of how greatly _every_ tone needs the proper admixture.
SECTION XVIII
THE HIGHEST HEAD TONES
As we have already seen, there is almost no limit to the height that
can be reached by the pure head tone without admixture of palatal
resonance. Very young voices, especially, can reach such heights, for
without any strain they possess the necessary adaptability and skill
in the adjustment to each other of the larynx, tongue, and pillars of
the fauces. A skill that rests on ignorance of the true nature of the
phenomenon must be called pure chance, and thus its disappearance is
as puzzling to teacher and listener as its appearance had been in the
first place. How often is it paired with a total lack of ability to
produce anything but the highest head tones! As a general rule such
voices have a very short lease of life, because their possessors are
exploited as wonders, before they have any conception of the way to
use them, of tone, right singing, and of cause and effect in general.
An erroneous pressure of the muscles, a wrong movement of the tongue
(raising the tip, for instance, [Illustration]), an attempt to
increase the strength of the tone,--all these things extinguish
quickly and for all time the wonder-singer's little light.
We Lehmann children in our youth could sing to the very highest pitch.
It was nothing for my sister Marie to strike the 4-line _e_ a hundred
times in succession, and trill on it for a long time. She could have
sung in public at the age of seven. But since our voices, through the
circumstances of our life and surroundings, were forced to early
exertions, they lost their remarkable high notes; yet enough was left
to sing the _Queen of Night_ (in Mozart's opera "Die Zauberfloete"),
with the high _f_.
After I had been compelled to use my lower and middle ranges much
more, in the study of dramatic parts, I omitted the highest notes from
my practice, but could not then always have relied on them. Now that I
know on what it all depends, it is very easy for me to strike high
_f_, not only in passing, but to combine it with any tone through
three octaves. But upon the least pressure by any organ, the head
resonance loses its brilliancy; that is, the breath no longer streams
into the places where it should, and can create no more whirling
currents of sound to fill the spaces.
But one should not suppose that the head tones have no power. When
they are properly used, their vibrancy is a substitute for any amount
of power.
As soon as the head tones come into consideration, one should _never_
attempt to sing an open _ah_, because on _ah_ the tongue lies
flattest. One should think of an _[=a]_, and in the highest range even
an _[=e]_; should mix the _[=a]_ and _[=e]_ with the _ah_, and thereby
produce a position of the tongue and soft palate that makes the path
clear for the introduction of the breath into the cavities of the
head.
[Illustration: Red lines denote vocal sensation in the highest head
tones without mixture.]
Singers who, on the other hand, pronounce _[=a]_ and _[=e]_ too
sharply, need only introduce an admixture of _oo_; they thereby lower
the position of the larynx, and thus give the vowel and tone a darker
color.
Since the stream of breath in the highest tones produces currents
whirling with great rapidity, the more rapidly the higher the tone is,
the slightest pressure that may injure the form in which they
circulate may ruin the evenness of the tone, its pitch, perhaps the
tone itself. Each high tone must _soar gently_, like the overtones.
The upper limits of a bass and baritone voice are
[Music illustration]
where, consequently, the tones must be mixed. Pure head tones, that
is, falsetto, are never demanded higher than this. I regard it,
however, as absolutely necessary for the artist to give consideration
to his falsetto, that he may include it among his known resources.
Neither a bass nor a baritone should neglect to give it the proper
attention, and both should learn to use it as one of their most
important auxiliary forces.
With what mastery did Betz make use of it; how noble and beautiful his
voice sounded in all its ranges; of what even strength it was, and how
infallibly fresh! And let no one believe that Nature gave it to him
thus. As a beginner in Berlin he was quite unsatisfactory. He had the
alternative given him either to study with great industry or to seek
another engagement, for his successor had already been selected. Betz
chose to devote himself zealously to study; he began also to play the
'cello; he learned to _hear_, and finally raised himself to be one of
our first singers, in many roles never to be forgotten. Betz knew,
like myself, many things that to-day are neither taught nor learned.
SECTION XIX
EXTENSION OF THE COMPASS AND EQUALIZATION OF REGISTERS
The whole secret of both consists in the proper raising and lowering
of the soft palate, and the pillars of the fauces connected with it.
This divides into two resonating divisions the breath coming from the
source of supply, and forced against the chest, whereby it is put
under control, as it escapes vocalized from the larynx. It consists
also in the singer's natural adaptability and skill, in so placing the
palate and resonance of the head cavities, or keeping them in
readiness for every tone, as the pitch, strength, and duration of the
individual tones or series of connected tones, with their propagation
form, shall demand.
SECTION XX
THE TREMOLO
Big voices, produced by large, strong organs, through which the breath
can flow in a broad, powerful stream, are easily disposed to suffer
from the tremolo, because the outflow of the breath against the vocal
cords occurs too _immediately_. The breath is sent directly out from
the lungs and the body, instead of being driven by the abdominal
pressure forward against the chest and the controlling apparatus. Not
till this has been done, should it be admitted, in the smallest
amounts, and under control to the vocal cords. It does not pause, but
streams through them without burdening them, though keeping them
always more or less stretched, in which the muscular power of
contraction and relaxation assists. Streaming _gently_ out from the
vocal cords, it is now led, with the support of the tongue, to its
resonance chambers, all the corners of which it fills up equally. Even
the strongest vocal cords cannot for any length of time stand the
uncontrolled pressure of the breath. They lose their tension, and the
result is the tremolo.
In inhaling, the chest should be raised not at all or but very little.
(For this reason exercises for the expansion of the chest must be
practised.) The pressure of the breath _against_ the chest must be
maintained as long as it is desired to sustain a tone or sing a
phrase. As soon as the pressure of the abdomen and chest ceases, the
tone and the breath are at an end. Not till toward the very end of the
breath, that is, of the tone or the phrase, should the pressure be
slowly relaxed, and the chest slowly sink.
While I am singing, I must press the breath against the chest
_evenly_, for in this way alone can it be directed evenly against the
vocal cords, which is the chief factor in a steady tone and the only
possible and proper use of the vocal cords.
The uninterrupted control of the breath pressure against the chest
gives to the tone, as soon as it has found a focal point on the raised
palate at the attack, the basis, the body, which must be maintained
even in the softest pianissimo. Control of the breath should never
cease. The tone should never be made too strong to be kept under
control, nor too weak to be kept under control. This should be an
inflexible rule for the singer.
I direct my whole attention to the pressure against the chest, which
forms the door of the supply chamber of breath. Thence I admit to the
vocal cords uninterruptedly only just so much as I wish to admit. I
must not be stingy, nor yet extravagant with it. Besides giving
steadiness, the pressure against the chest (the controlling apparatus)
establishes the strength and the duration of the tone. Upon the
proper control depends the length of the breath, which, without
interruption, rises from here toward the resonating chambers, and,
expelled into the elastic form of the resonating apparatus, there must
obey our will.
[Illustration: Vocal Cords.]
It can now be seen how easily the vocal cords can be injured by an
uncontrolled current of breath, if it is directed against them in all
its force. One need only see a picture of the vocal cords to
understand the folly of exposing these delicate little bands to the
explosive force of the breath. They cannot be protected too much; and
also, they cannot be too carefully exercised. They must be spared all
work not properly theirs; this must be put upon the chest tension
muscles, which in time learn to endure an out-and-out thump.
Even the vibrato, to which full voices are prone, should be nipped in
the bud, for gradually the tremolo, and later even worse, is developed
from it. Life can be infused into the tone by means of the lips--that
is, in a way that will do no harm. But of that later.
Vibrato is the first stage, tremolo the second; a third and last, and
much more hopeless, shows itself in flat singing on the upper middle
tones of the register. Referable in the same way to the overburdening
of the vocal cords is the excessive straining of the throat muscles,
which, through continual constriction, lose their power of _elastic_
contraction and relaxation because pitch and duration of the tone are
gained in an incorrect way, by forcing. Neither should be forced;
pitch should be merely maintained, as it were, soaring; strength
should not be gained by a cramped compression of the throat muscles,
but by the completest possible filling with breath of the breath-form
and the resonance chambers, under the government of the controlling
apparatus.
_Neglect of the head tones (overtones) is paid for dearly._
The more violent exertions are made to force them, and to keep them,
the worse are the results. For most of the unhappy singers who do
this, there is but one result: the voice is lost. How pitiful!
If the first and second stages of tremolo are difficult to remedy,
because the causes are rarely understood and the proper measures to
take for their removal still more rarely, the repair of the last stage
of the damage is nothing less than a fight, in which only an
unspeakable patience can win the victory.
SECTION XXI
THE CURE
There are no magic cures for the singer. Only slowly, vibration upon
vibration, can the true pitch be won back. In the word "soaring" lies
the whole idea of the work. No more may the breath be allowed to flow
uncontrolled through the wearied vocal cords; it must be forced
against the chest, always, as if it were to come directly out thence.
The throat muscles must lie fallow until they have lost the habit of
cramped contraction; until the overtones again soar as they should,
and are kept soaring long, though quite _piano_. At first this seems
quite impossible, and is indeed very difficult, demanding all the
patient's energy. But it is possible, and he cannot avoid it, for it
is the only way to a thorough cure. The patient has an extremely
disagreeable period to pass through. If he is industrious and careful,
he will soon find it impossible to sing in his old way; but the new
way i |
