with the hand, and close the hand tight. The upper part of this pouch
represents the face and high forward placing. That below the hand, or the
lower part, the chest resonance. The hand holding the middle of the pouch
represents the throat. So long as the hand contracts tightly the middle of
the pouch, there is no connection between the air in the upper and lower
parts of the pouch. If the desire is to connect these two parts, relax the
hand a little, and allow an opening or a free passage between them. In
singing, the same relaxation or opening must occur at the throat, if the
desire is to connect the ring of high placing with the resonance of the low
cavities. If the desire is to reinforce, to build down, the extrinsic
muscles of the throat must relax, and the throat must expand.
In thus placing and reinforcing tone, the pupil is guided or assisted not
only by the sense of hearing but by the sense of feeling. There will be the
sensation of freedom, of ease, of power; a feeling as though the entire
body from the head down to the waist were open and filled with tone.
Remember, however, this important fact, that it is possible to lift and
expand, and even to let go, and yet not to influence the tone. We can act
well and yet sing with a common tone. The pupil must think and feel the
tone, must think and feel the effect desired. The thought must precede the
action.
This point is worthy of all consideration,--right thought or right feeling
assists the tone in every way, has, in fact, a wonderful influence in
developing right action. The idealized tone brings into action more of the
true powers of the singer than it is possible to do in any other way.
[Illustration: SIXTH STUDY. Ya, ah.]
This study lends itself easily and naturally, not only to the development
of high placing, but to correct bodily action.
Sing the first tone staccato, placing the body upon a level with the tone
as described. Then from the level of this first tone, through flexible
vitalized action, carry the body spontaneously or by impulse to the level
of the upper tone; the air current or the tone should strike the roof of
the mouth well forward and instantly reflect into the low cavities. In this
way all true conditions are secured, and the voice is allowed to sing
instead of being made or compelled. There must be a very free lift,
expansion, and let go between the first and the upper tone. Do not let the
second tone start until its level is reached, or the effect will be
spoiled, or at least modified. All this must be done rhythmically, which
means without the least hesitation, or without the sensation of haste. To
hesitate compels local effort. To hurry disturbs all true conditions. This
is a very valuable exercise, if understood.
[Illustration: SEVENTH STUDY. Ah....]
This study is virtually the same as the sixth, except that the voice is not
suspended or arrested between the first and second tones. This exercise
must be studied with the same action and the same impulse as the sixth
study. Some singers can get placing and reaction better on this study than
on the sixth.
[Illustration: EIGHTH STUDY. Ah....]
Find the level of the first tone as suggested, using hands and body; move
down, hands and body going with the tone, while singing the first three
notes of this exercise; then, without stopping or hesitating, reverse the
action or the movement, by lifting hands and body, and opening wide by
dropping the lower jaw, while singing the last three notes. Of course the
voice must sing from the highest to the lowest note with a continuous
legato flow. The movement of the body down with the first three notes and
the reverse action, moving up and out on the last three, must be smooth and
continuous. If this is done properly the reverse action will give a
wonderful sensation of freedom, openness, and the power of low added
resonance. It demonstrates forcibly what is meant by placing up and
building down.
This is the great idea or the great movement for developing the low tones
in all voices. When the low tones are thus developed by expansion, but
without effort, the same idea of freedom and low resonance can be carried
into the high tones. This can be done especially well and easily on
exercises six and seven. The higher the tone the lower the resonance should
be if the object be a full beautiful, free tone.
[Illustration: NINTH STUDY. Ah....]
Place yourself upon a level with the first tone as suggested, and allow the
tone to start spontaneously, striking, as it were, the roof of the mouth
and the chest simultaneously. Move body and hands down with the voice to
the low tone, and then instantly but rhythmically, lift back to the level
of the upper tone. Feel as though you were under the tone with body and
hands in moving up, and let the tone strike by impulse, the roof of the
mouth, and instantly reflect into the chest. Practice this exercise until
it can be done with perfect freedom of form and action.
In starting the first tone in all these exercises, feel the vibration in
the face, on the forehead, and on the cheek-bones. If this is done without
pushing, but by flexible action, a sympathetic vibration can be felt
through the entire body.
A very effective and successful study of high placing and low resonance may
be got through a consideration of the natural placing and resonance of the
vowel sounds. As I have written so fully on the vowel sounds in my former
works, I shall simply touch upon that important question here.
E as in _reed_ is naturally the highest placed vowel in the English
language. U or oo as in _you_ or _do_ is naturally the lowest in
color. Sing E with the freedom of action as suggested, and think it high in
the face. Make no effort to influence the form. The form of E is naturally
very small. E will be found in this way to be free and bright, not hard and
wiry. Sing oo in the same way. The form of oo is also very small. Oo should
have a flute-like sound. It will be found that in E high resonance
predominates. In oo low color. In studying the vowels the aim should be to
equalize them by placing, reinforcing, and coloring them as nearly alike as
possible. In this way they are equalized instead of differentiated.
Place E as suggested, and color it by the thought and influence of the low
resonance of oo. Sing oo as suggested, and brighten it by the thought,
influence, and high placing of E. In this way study all other vowels,
influencing them by the high placing of E and the low resonance of oo. The
high ring and brightness of the reed sounds of the voice, must be modified
and influenced by the color and low resonance of the flute sounds. The
flute sounds of the voice must be made more brilliant and free by the
influence of the high placing and high resonance of the reed sounds. In
this way we equalize all the vowels until, in a certain sense, they all
have the same color and quality and sound, as though they belonged to one
and the same voice. For a further study of high placing, use the second
sound of O, or, as some writers classify the vowels, the second sound of
U,--the sound of uh as heard in up. This is the highest, narrowest, and
most elongated arch form in the English language; consequently it is, for
many voices, the most favorable sound for the study of high placing.
All vowel sounds, like all tones of the voice, are reinforced sounds. The
tendency of most singers is to sing the reed sounds too white and the flute
sounds too dark. By properly distributing brilliancy and color we influence
and modify all the vowels without losing their character or individuality.
PART THIRD.
_AESTHETICS._
ARTICLE ONE.
THE FOURTH PRINCIPLE OF ARTISTIC SINGING.
The fourth principle of artistic singing is
_Emotional or Self-Expression._
_Theory_.--Vitalized emotional energy, the "Singer's Sensation," is
the true motor power of the voice.
_Devices_.--A study of tone-color and tone-character; the idealized
tone, applied and developed by the use of words and sentiment.
The student of the voice who has studied, understood, and, to a certain
extent, mastered the first three great principles of voice production--the
removal of all restraint, automatic breathing, high placing, and low
resonance--has certainly accomplished much. He has aroused and developed
the physical and mental vitality of the singer, the vitality and energy of
body and mind. This is the limit of progress or development with many, at
least so far as actual tone study is concerned.
There comes a time, however, in the experience of every student of the
voice, a stage of the study, when, if he expects to be an artist, he must
take a step in advance, a step higher; he must place himself upon a higher
plane or level; he must arouse his true inner nature, the singer's
sensation, that which we have called the third power. This is done by a
study of emotional, or self-expression. It is done through arousing and
vitalizing the emotional energy. Vitalized emotional energy, the singer's
sensation, is undoubtedly the true motor power of the artist.
At just what stage of development the consideration of this higher form of
study or expression should be placed before the mind of the pupil, is a
question. Singers are so different, physically, mentally, and emotionally.
With some I have found it best not to consider this side of the question
until they have developed a fair vocal technique. This should be the case
with emotional, nervous, excitable temperaments. With hard, cold, stiff,
mechanical pupils, this is often the only way in which it is possible to
arouse them, in order to give them a start, without wasting weeks or months
of precious time.
The development of this principle of vitalized, emotional energy, depends,
as a rule, upon freedom of voice and the true conditions of tone as before
described. Therefore, in order to study this great question, in order to
fully develop this higher form of expression, the singer must have mastered
the flexible, vitalized movements given in this work, must have acquired
through these movements absolute freedom of tone. Experience teaches us,
however, that there are those who, while they learn, in a certain way, to
do the movements comparatively well, yet do not entirely let go,--they do
not free the voice. With such the study of tone color, and especially the
study of soft color, not soft tone necessarily, but soft, emotional tone
color, is their only salvation. It releases and relaxes all the rigid local
tendencies.
There is a stage of study, as we have said, in the experience of all
students of the voice, when, in order to become artists, Nature demands of
them more than mere sound. There comes a time when every tone of the voice
must mean something, must express something, through the character of the
tone, the idealized tone. In this way the personal magnetism of the singer
is imparted, heard, and felt. This means the expression of thought and
feeling through the color and character of the tone, the highest known form
of expression. This principle is the greatest known agency for the
development of all the powers of the singer, not only the emotional and
mental powers, but the physical as well. The student of the voice who
studies or who is trained in this way, develops, not only in character and
beauty of tone, but in actual physical power and control. This study of
tone color and tone character develops new power in every way. "The
mechanical and mental alone are but half development, but this is full and
complete development of the entire being." In proof of this, sing a light,
bright, happy thought or tone, using the clear timbre, about the middle of
the voice. It will require but little strength. Then sing a more emotional
thought, sentence, or tone; express deeper feeling, and it will be found
that more strength is required. Again, give utterance to tone or words
which express sadness, sorrow, or intense pleading, using the somber timbre
of the voice, and much more strength will be required. This will be
especially noticeable in the action or energy of the diaphragm and
abdominal muscles. It will be found that the low muscles of the body exert
more strength on somber timbre than on clear tone. This, in order to induce
the deep, low setting of the voice at the organ of sound, necessary for the
production of somber or dark tone, and the expression of deep, emotional
feeling. It is easy to see that this means greater physical as well as
emotional development; physical development, not only of every muscle of
the body, but of the organ of sound itself; a development which can be
attained through the study of tone color and emotional expression only.
The power of vitalized emotional energy, I might say the power of the
emotional power, cannot be overestimated. The power of an emotional climax,
imparted through the soft color of the voice, is often greater than that of
the dramatic climax; it will often influence and affect an audience in the
most startling way. We find that thought and will control all physical
action in singing. If the thought is right, the action will be right; if
wrong, the action will surely be wrong. When right thought and action have
developed absolute freedom, then the emotional energy, the singer's
sensation, the true power of the voice, should dominate everything. The
mind or will controls the body through thought, but the thought must be
aroused through feeling or emotion; and the feeling or emotion is inspired
by the sentiment to be expressed. This means, of course, the higher form of
expression, means the power of tone color and tone character; but it
depends first upon all true conditions of tone, mental and physical, and
then upon the temperament, upon the heart, and soul of the singer.
Singing, as we have said, is more psychological than physiological. This
whole system of flexible, vitalized movements, is first aroused by right
thought, and finally applied and controlled through the mind or will, in
response to feeling or emotional impulse. In this way we are able to arouse
and use at will the persuasive, the impressive, the fervent voice; the
voice that is something more than mere sound; the voice that has character
and magnetism.
Compare two voices that are equal in every way in regard to power of tone,
compass, and control. The one varies the color and character of the tone
continually with the change of thought and sentiment, and is enabled
thereby not only to avoid monotony, but to use the impressive, persuasive
voice, the tone the sentiment demands. In this way he has magnetic power
and influence over an audience. The other voice may be bright, free, and
clear, yet may use the same quality or color of tone constantly on all
styles of singing, and on all degrees of power, it matters not what the
thought or sentiment may be; and this style of voice is by no means
uncommon, even among many of our public singers. Now consider the
difference in the commercial value of these two voices, which should bear
at least some relation to their artistic value. No artist can be truly
great or fully developed without the power of vitalized, emotional energy,
and variety of tone color and character.
Sing a tone, about the middle of the voice, without other thought than that
of simply pure, free tone. It will be found that in the most beautiful
voice the tone will be common-place, meaningless; in many voices it will be
simply sound. Now place yourself in every way upon a higher, a more lofty
plane. Think of higher ideas and ideals. In other words, idealize the tone.
Remember, the ideal is the truth, and not exaggeration. Appeal to your
emotional energy, the singer's sensation, and give expression to thought
and feeling aroused in this way. Give expression to an actual life-throb,
whether it be of love or hate, of joy or sadness, of ecstasy or despair.
The result, the change of tone, character, and quality, will be
astonishing, will ofttimes be electrifying. In this way make the tone
actually mean something. Feel like a singer, assert yourself, express
thought, sentiment, feeling, emotion, and not simply sound.
Simple sound, as a rule, is meaningless and unnatural. Nature demands, for
the expression of beautiful, artistic tone, that all the powers she has
given the singer--the powers, physical, mental, and emotional--be brought
into action and put into the tone. Character and magnetism of tone must be
aroused in most voices. This cannot be done through the mechanical and
mental powers alone. It requires the study and development of the emotional
energies of the singer. In other words, the singer must put himself, not
only upon a physical and mental level, but upon the emotional level of the
tone as well.
All voices have two distinct color or character effects, the reed and the
flute. These effects are the result of vowel forms, and of the
predominating influence of high placing or of low resonance. When we desire
brilliancy, the reed effect should predominate. When we desire dark color
or more somber effects, the flute quality should prevail. In clear tone or
timbre there is more reed effect than flute. In medium tone or color the
effect of both is heard and felt. In the somber tone the flute
predominates. To express joy or happiness we use the clear timbre, and the
ring of high forward placing predominates. To express a deeper feeling, a
more serious but not a sad tone, that which we call the emotional form,
both the clear and the somber are heard in various proportions; the high
placing and the low resonance are about equally balanced. To express
sadness the somber color or low resonance predominates.
Apply these ideas on all the exercises given. Use sentences which contain
thought or sentiment that will enable you to arouse a definite feeling. For
example, to study the clear timbre, sing, "My _heart_ is glad." To
express the emotional tone, the tone which is not sad but serious, sing,
"My _heart_ is thine." To express a somber sound or sadness, sing, "My
_heart_ is sad." To express a ringing, dramatic tone, sing, "Thy
_heart_ is false." Thus we express four different effects on the one
word, "heart."
This subject of emotional expression through tone color and tone character
is so great, so important, that it is impossible to do it justice in this
little work. I have written more fully on this and kindred subjects in my
other works, therefore I shall here touch but lightly upon the aesthetics
of the vocal art.
It should be remembered that the prime object for which this book was
written, was to place more clearly, if possible, before my readers, the
importance and wonderful influence of the flexible, vitalized movements of
our system.
These movements, we find, so directly influence the voice, the singer, and
the results in every way, that we feel justified in again calling attention
to them. Too much cannot be said of them, for the average student of the
voice is inclined to neglect them. If they have been, to a certain extent,
understood and mastered, then the study of this, the fourth principle of
artistic singing, becomes a comparatively easy matter. With the student who
does not understand them, emotional or self-expression is always a
difficult matter, and with many an impossibility; which largely accounts
for the great number of mechanical singers. At least twenty years' hard
work and study have been put upon these movements in order to reduce them
to the simplest and most effective form. They are based upon common sense
and Nature's laws. Of course no one can or should expect to understand or
fully appreciate them without more or less investigation.
ARTICLE TWO.
THE FIFTH PRINCIPLE OF ARTISTIC SINGING.
The fifth principle of artistic singing is
_Automatic Articulation_.
_Theory_.--_Articulation must be spontaneous_, the result of
thought, and of the effect desired, never of direct or local effort. The
thought before the action, never the action before the thought.
_Devices_.--The development of the consonantal sounds through the
study of the three points or places of articulation, and the application by
the use of words, sentences, and sentiment, vitalized and intensified.
In our course of study or in the formula here given, it will be evident to
the reader that we lay much stress upon the principle of vitality or
vitalized energy. In the second part of this work we have considered the
principles and the devices that develop physical and mental vitality. In
the article which directly precedes this, special emphasis is placed upon
emotional vitality. Vitality or vitalized energy, it will be found, holds
good also in this, the fifth fundamental principle of artistic voice
production.
Articulation, to be artistic, must be automatic and spontaneous; must be
the result of thought and effect desired, and never of direct or local
effort. This being true, we must recognize the importance of freedom of
form and action, of the removal of all restraint, in fact, the importance
of all true conditions of tone. This brings us back again to our original
position, as do all the fundamental principles of singing; namely,--the
importance of the free, flexible movements of our system, upon which
freedom of form and action, in fact, all true conditions of tone, depend.
Language, spoken language, has been considered by many a vocal weakness.
Scientists have contended that the consonantal sounds weaken the resonance
and power of the vowels. We have found the opposite to be true. We have
found that the consonantal sounds in many ways are a wonderful help in
developing the voice. This proves that which some one has so well said,
"The demonstrations of yesterday are the falsehoods of to-day."
A free, flexible articulation of the consonantal sounds helps to place the
voice, and gives it life and freedom. Articulation, under right conditions,
will not interfere with the legato flow of voice. It is not necessary, as
many suppose, to sacrifice distinct utterance in song for the sake of the
legato flow of voice, the most desired mode of singing. On the other hand,
the free legato flow of the vowels need not interfere at all with distinct
articulation. The voice is composed of two separate and distinct
instruments, the organ which produces sounds or vowels, and the
articulating organ which produces consonants. These two instruments, when
properly trained, strengthen, complement, and support each other, and
together they mold vowels and consonants into speech.
It is true that with many, articulation is a difficult matter, and this is
especially true on the high tones of the voice. No one who has heard the
majority of the average opera and concert singers of the day, would be
justified in holding that articulation is not a lost art. A free, distinct
articulation and use of words in song, is the exception and not the rule.
This is due largely to the following fact--with most singers there is
direct or local effort on face, jaw, tongue and throat, during the act of
singing; in other words, they grip the parts to hold the tone, and the
higher or louder they sing, the firmer the grip or contraction. This
virtually paralyzes action, and makes flexible articulation impossible.
Articulation knows no pitch. It should be as easy on a high tone as on a
middle or low tone. If there were no direct or local effort of the
articulating muscles to hold the tone, articulation on the high tone would
be as easy as on the middle or low tone. This is a fact which has been
demonstrated again and again. Of course it is more difficult to learn to
sustain the high tone without placing more or less effort upon the face,
jaw, and throat; but under right conditions, the result of right position
and action, this can be done, and has been done many times.
Articulation, to be artistic, must be spontaneous,--the thought before the
action. Think and feel the effect desired, and give no thought to the
action of articulation. The action, under right conditions, if there is no
restraint, will respond to thought and feeling; it will be automatic and
spontaneous. Just as the singer, after a certain stage of study, should
never produce a tone that does not mean something, that has not character,
so in the use of words, he should always sing them in a persuasive,
impressive manner, and with free, flexible action. As, under this system,
we never locally influence vowel form, so, after a certain stage of study
we never locally influence consonantal action. To be right, it must be
automatic and spontaneous.