beginning. The pupil must be taught to know and think correct physical or
mechanical action in singing. He must know what it is, what it means, and
how to think it. Then it must be trained to respond to thought and will.
This we call the first two stages of study, or the physical and mental. The
mental, as the student progresses, must dominate and control the physical;
and finally, as we have before stated, the true motor power is emotional
energy or the singer's sensation. This order of study and development holds
good in this fifth principle of artistic singing, as in all others.
The device to which we first resort for the understanding and development
of articulation, is a study of the three points or places of contact. On
page 183 of "Vocal Reinforcement" (by the author of this work) will be
found a full explanation of these three points.
A vowel sound is the result of an uninterrupted flow of the vibratory air
current. A consonantal sound, on the other hand, is the result of a
complete obstruction and explosion, of a partial obstruction and explosion,
or of a partial obstruction only. The place and manner of the obstruction
and explosion, or of the obstruction only, determine the character of the
sound. There are three points of obstruction or articulation:
1. The point of contact of the base or back of the tongue and of the soft
palate.
2. The contact of the tip of the tongue and of the hard palate, the roof of
the mouth.
3. The contact of the lips, or of the lower lip and the teeth.
Almost any first-class work on the elements of the English language will
give the divisions and the location of the consonantal sounds. For the
singing voice it is always best to simplify, hence we divide the
consonantal sounds into two general divisions: the aspirates, those which
are the result of complete obstruction and explosion, or of partial
obstruction only, breath and vowel sound; the sub-vocals, those which are
the result of partial obstruction and explosion, or of partial obstruction
only, sub-vocal and vowel sound. The sub-vocals, as ending or final
consonants, are the most difficult of all to give their proper value and
effect.
The student of the voice should study, understand, and practically train
the action of these three points or places of articulation; for at these
three points, with a few exceptions, all consonantal sounds are made. Take
all the consonants, and classify them in two columns, the aspirates or
breath sounds in one column, and the sub-vocals in another. We will give
one example of each kind, as made at each point or place of articulation.
By the aid of vowels we form syllables, and thus simplify the study, and
make it more definite. The study of consonantal sounds without the use of
vowel sounds is very indefinite and unsatisfactory.
We give the formula for the study of articulation, as found in "Exercises
for the Training and Development of the Voice" (by the author of this
work), on page 18.
Ko-Ok--Aspirate.
Thus: 1st Point.
Go-Og--Sub-vocal.
To-Ot--Aspirate.
2d Point.
Do-Od--Sub-vocal.
Po-Op--Aspirate.
3d Point.
Bo-Ob--Sub-vocal
Exaggerate the consonantal sounds in every instance, and the points of
contact or places of articulation will be very evident. It will also be
evident that the point of contact or articulation is much more positive on
certain aspirates than on the sub-vocals; while on a few other aspirates
the action or obstruction is so slight that it is almost impossible to tell
where or how they are made. They are the exception to the general rule. To
such, however, very little attention or study need be given. Having studied
the formula as given, classify the consonants in three columns, under the
headings of 1st, 2d, and 3d points or places of articulation.
At a certain stage of study, when the student of the voice has acquired
freedom and control, when he is able to release the face, jaw, tongue, and
throat from all local effort or contraction,--at this stage of study it is
wonderful what can be done in the way of articulation in a few days, by
this system. I have known many singers who could produce beautiful tones,
but who could not make themselves understood at all in the singing of a
song; yet in a few lessons on these three points or places of articulation,
practically applied by the use of words and sentences, they could sing the
words of a song as distinctly as it was possible to speak them.
For the practical application of the above principles of articulation, form
groups of vowel sounds, and make syllables by adding consonants, and sing
them on single or level tones. First place the consonant before the vowel,
making the articulation the initial sound of the syllable. Then place the
consonant after the vowel, making the articulation the final sound of the
syllable. Also sing sentences on single tones or level movements. Analyze
all the consonantal elements of the sentence. Take for example the
following sentence, "We praise Thee, O God," and notice at which point or
place of articulation each and every consonant is made. Let all
articulation be free, flexible, and light in movement, not heavy or
labored. Never work with articulation; play with it, but let it be distinct
and definite. Make no effort of face, lips, or tongue; let all be free and
pliable. Show no effort or contraction of the face in sustaining voice or
pronouncing words. In other words, never sing on the outside of the face.
Mouth and face must be left free and pliable for the outline of form and
for expression. Use words and sentences in an impulsive, impressive manner
without local effort.
Articulation must be rhythmically in sympathy with the movement or the
rhythm of the song. Even though the voice may flow freely on the vowels,
the articulation must not be hurried, nervous or spasmodic. This style of
articulation often disturbs the legato flow and spoils the general effect.
While of course it is not possible to sing the consonantal sounds, a
beautiful effect is often the result of playing upon the consonant
rhythmically, with the movement of the song.
ARTICLE THREE.
THE SIXTH PRINCIPLE OF ARTISTIC SINGING.
The sixth principle of artistic singing is
_The Elocution of Singing._
_Theory._--The words and their meaning, in modern song, are, as a
rule, more important than the music.
_Devices._--A study to combine elastic vowel form and flexible
articulation, applied by the emphasis and accent of important words and
phrases; also applied through the color and character of tone, and the
impressive, persuasive, fervent voice. In short, a study of pure diction.
Every singer and teacher of singing should, in a certain sense, be an
elocutionist as well. Not an elocutionist from the standpoint of many who
are called elocutionists, who are stagey, full of mannerisms, and who
exaggerate everything pertaining to elocution. Of course the better class
of elocutionists are not guilty of these things; but they do idealize
everything, whether they read, recite, or declaim, and this in their
profession is a mark of true art. So must the teacher and singer learn to
idealize not only the tone or the voice, but everything pertaining to the
singing of a song. This must be done through the manner in which the
sentiment, the thought, the central idea is brought out and presented to
the hearer; through the impressive way in which the story is told.
The elocution of singing depends upon a knowledge and control of all the
principles considered up to this point of study,--a knowledge and control
of physical, mental, and emotional power, of freedom of form and action, of
artistic vowel form and automatic articulation, of the removal of all
restraint, in fact, of all true conditions of tone. To interpret well, the
singer must have mastered the elocution of singing, must be able to bring
out every vowel and consonantal element of the words, must know how to use
and apply tone color and tone character, the impressive, persuasive,
fervent voice. The singer must idealize not only the tone, but the words of
the song; "just as the painter idealizes the landscape, so the musical
artist must use his powers of idealization in interpreting the work of the
composer." To be able to do this, his diction must be as pure, his language
as polished, as that of the most accomplished orator.
The power of word vitality in the singing of a modern song, is one of the
great elements of success, if not the greatest. Not an exaggerated form of
pronunciation, but an intense, earnest, impressive way of bringing out the
thought. It would be interesting to know what per cent of teachers and
singers can read properly the words of a song; to know how many of them, or
rather how few of them, have ever given this phase of the study, thought or
attention. Most of them act as though they were really ashamed to try, when
you ask them to read the words of a song, and when they read them, they
apparently have no thought of expressing, or no idea of how to express the
elevated thought or feeling, necessary to bring out the author's ideas. It
is almost impossible to make them idealize the words through the elocution
of singing; and yet in the artistic rendition of a song, a ballad, or a
dramatic aria, the words are often of more importance than the music. The
singer should study the story of a song by reading it aloud upon the
highest plane or level of emotional or dramatic expression. To do this, he
must know and apply the elocution of singing. Then he should endeavor to
bring out the same lofty ideals when applying the words to the music.
"Why do not singers read or talk as they sing?" was a question once asked
by a prominent elocutionist. "Why do not elocutionists sing as they talk or
read?" I replied. This, of course, at once suggests an interesting subject
for discussion. To give the reason in a general way, is simply to state
that singers, as a rule, do not apply the principles of their art to the
talking voice. Hence they often read and talk badly. The same is true, as a
rule, of elocutionists. They do not apply the principles of their art when
they attempt to sing.
The devices we use are a study of elastic vowel form and flexible
articulation, applied by the emphasis and accent of important words in
phrases and sentences. Then a study of the character and tone color
necessary to express the meaning of the words. Then a use of the earnest,
impressive, persuasive voice, as the text may demand. By using these forces
or principles, as suggested by the thought and sentiment of the words, we
arouse the emotional power, the magnetism of the voice, and thus influence
the hearer. Through the elocution of singing we place our emotional, our
personal expression upon a high and lofty plane. We thus express the
central thought, the high ideals of the composer, and through the earnest,
impressive voice impart them to the hearer.
ARTICLE FOUR.
THE SEVENTH PRINCIPLE OF ARTISTIC SINGING.
The seventh principle of artistic singing is
_Interpretation_.
_Theory_.--Singing means infinitely more than the use of words and
music; it means the expression of the author's idea as a whole.
_Devices_.--The application of all true principles by drawing, as it
were, a mental and emotional tone-picture, as suggested by words and music.
The following article upon this subject was kindly written, especially for
this book, by my friend and pupil, the well known teacher, Mr. John
Randolph.
Interpretation in song is the faithful reproduction of the intention of
both poet and composer. This reproduction includes the revelation of the
characteristics of the poem itself, whether lyric, dramatic, or in other
ways distinctive. It also reveals the musical significance of the
composition to which the words are set. The melodic, rhythmic, and even
harmonic values must be made clear to the hearer. But interpretation
includes more than this reproduction, essential though it may be. If the
expression of the intention of poet and composer fulfilled the sum total of
interpretation, one performance would differ little from another. A
clear-cut, automatic precision would be the result, perhaps as perfect as
the repetition given out by a music-box and certainly no more interesting.
Another element enters into interpretation. The meaning of the poem and its
accompanying music must be displayed through the medium of a temperament
capable of self-expression. A personal subjective quality must enter into
the performance. The singer must reveal not only the significance of words
and music, but his own intellectual and emotional comment upon them. Upon
this acceptance of the inner meaning of words and music, and upon his
ability to weave around them some strands of his individuality, depend the
character and originality of the singer's interpretation as a whole. Let us
see how this comprehension of the meaning of songs may be acquired; upon
what foundations rests the ability to make the meaning clear; and if we can
do so, let us discover the springs of that elusive quality commonly called
"temperament" which gives the personal note to one rendition as distinct
from another, and without which the clearest exposition of vocal meanings
becomes tame and colorless.
The singer is a specialist, but all successful specialization rests upon
the broad foundations of general culture. The reason why there are so many
singers and so few artists who thrill us with the revelation of the
intimate beauties of the songs of Franz, Grieg, and MacDowell, to take only
a few names from the rich list of song writers, is because people sing
without acquiring the range of vision which makes such interpretation
possible. How can one sing, let us say, a German song, imbued with German
romanticism and melancholy, unless he knows something of the German art,
the German spirit, the German language, the German national
characteristics? A knowledge of literature, art in general, and the
"Humanities," to use an old-fashioned word, is absolutely necessary to
interpretation of a high order. Too often, alas, the singer imagines that
the study of tone production, or acquaintance with musical literature, or a
polished diction, will make him sing with the combination of qualities
called style. Not so! Upon the broad foundations of general culture, which
distinguishes the man of refinement from his less fortunate brother, rests
also the specific ability to sing with distinction. Moreover, the singer
must have definite musical ability, natural and developed by study. He must
thoroughly comprehend rhythm, melody, and harmony in order that his
attention may not be distracted from interpretative values to ignoble
necessities of time and tune. It is not possible to sing Mozart, not to say
Beethoven and Wagner, without acquaintance with the vocabulary and grammar
of the wonderful language in which they wrote. Familiarity with the
traditions of different schools of composition and performance is necessary
also in order not to sing the songs of Bach and Handel like those of
Schubert and Schumann, or Brahms like the modern French composers; in order
not to interpret with like effects indiscriminately songs of the oratorio
and opera, of Italian, German, French, English and modern Russian schools.
Unquestionably the singer must have control of the physiological and
technical possibilities of his voice. No one can make words and music mean
anything while he is wondering what his voice may do next. Developed
intelligence, emotional richness and refinement, musical knowledge, a
properly placed voice capable of flexibility and color, distinct
articulation, polished diction, these are some of the preliminaries to
successful interpretation in song.
Let us see what special qualifications assist in the actual performance of
song, in the attempt to give pleasure or artistic gratification by singing
songs for others to hear. In the first place let us consider the
limitations as well as the advantages of the human voice. I must ask you to
remember that considered as an instrument it is smaller in power than some
instruments, shorter in range than many others, often less beautiful than
the tones of the violin. But in one respect it transcends all others. It is
capable of revealing the mind and soul of the one who plays upon it. The
speaking voice, as well as the voice in song, reveals thought and feeling
to the hearer; those subtler shades of meaning which distinguish man, made
in the image of God, from his humble companions, are made clear to those
about him by this instrument--this wonderful, persuasive, cajoling,
beseeching, enthralling, exciting, thrilling, terrifying instrument! Have
you not been moved by the tones of the speaking voice? How can we train the
voice in song to express these varying shades of meaning, and can we learn
to use them systematically instead of accidentally or when we are impelled
by strong emotion? I know that there is a popular impression that some
singers possess a mysterious quality known as "temperament," and that
others do not. Having this uncertain quality, one singer stirs an audience;
having it not, the hearer remains unmoved. If by temperament, intelligence
and emotional richness of nature are meant, I do not believe that anyone
who is not to some extent possessed of these faculties can stir the
feelings of his hearers to any considerable degree. But surely many, almost
all people capable of conquering the physiological, psychological,
technical, and musical difficulties to be overcome before learning to sing
at all well, possess these qualities. And even if modern songs of the best
type abound in subtle, emotional expression and varying shades of
intellectual significance, it is, I believe, possible for most singers to
gain in interpretative facility by learning to connect the thought and
feeling underlying the song with the spoken words which are their natural
outlet and expression.
I say spoken words; for speech is the more spontaneous expression of
thought and feeling, through which individuality attains its simplest and
most complete expression. Speech is the normal method through which we make
clear our ordinary thoughts, feelings, desires, repulsions, and attractions
to those about us. Song is the finer flower of artistic expression, one of
the means through which imagination and the creative and interpretative
faculties find an adequate medium and outlet. But the words of the poem,
whether spoken or sung, must first be thoroughly understood before the
reader or singer attempts to make anyone else comprehend or feel them. Too
often an apparent lack of "temperament" is only the failure to have a
definite understanding of the meaning of the words the singer is vainly
endeavoring to impress upon his audience. Let the singer recite or read
aloud the words of his songs. This is a natural form of expression, and
requires a less complex process of thought than singing, which demands
several automatic reflexes in securing tone production; let him read aloud,
trying to give out every shade of thought and feeling the poem contains, in
a tone which is persuasive and appealing. Later, when he can do this with
appropriate emphasis in speech, let him try to express the same meanings in
his singing voice. In all probability he will find that he is much assisted
by the music, if his tone production is reasonably correct and
authoritative, and he be enough of a musician to grasp readily tonal
values. The sense of the words, the emotion and thought underlying the
words, will suggest the color and character of voice appropriate to the
expression and interpretation of the song as a whole. Of course, if he
tries to impress upon his hearer that he thinks it rather weak and foolish
to give up completely to the full significance of the words, and to
impersonate their narrative or dramatic significance, there is no help for
him. I am inclined to think that the fear of seeming exuberant or foolish,
the unwillingness to give one's inner self to others, or a
self-consciousness which prevents it, is at the root of much apparent lack
of "temperament." The singer must be both the narrator of the story of the
poem and the impersonator of the principal characters in that story. Upon
the completeness of his understanding of the meaning of the poem, and his
revelation of its meanings, as well as upon the absence of stiffness or
self-consciousness in suggesting the moods or characteristics displayed,
will depend the impression of temperamental force upon his audience.
The following suggestions may be of some value as devices in making songs
mean something; and this, after all, is the object of all attempts at
interpretation.
Suppose you take a new song--one you have never seen before. Do not sit at
the pianoforte, and play at it and sing at it until, after a fashion, you
know it. This way of learning leads to the kind of statement recently heard
after a peculiarly bad performance, "Why, I never think of the words at all
when I sing!" Instead of doing this, if you have been taught to do so, read
the song through, observing its general character. If thinking music
without playing or singing be impossible for you, play it over, carefully
noting _tempo_ and other general characteristics, until you have an
understanding of the melody, rhythm, and musical content. Observe how the
words fit the music, still without singing. Then read the poem silently and
carefully, and decide whether it is narrative, lyric, dramatic, churchly,
or in other ways distinctive. Next read the poem aloud, giving the voice
character appropriate to its sentiment, phrasing it intelligibly, observing
the emotional portent, and coloring it accordingly. If the poem be
narrative, tell the story with life and vitality; if it be dramatic,
attempt to impersonate the characters concerned; if it be devotional,
recite with dignity and devotional quality. Finally, when both words and
music are well in the mind, if possible with an accompaniment, but
certainly standing, sing the song. Sing, making a compromise between the
strict rhythmical value of the notes and the demands of the sense of the
words. Keep the general outlines of the music so far as phrasing and rhythm
are concerned; but whenever a sacrifice must be made, sacrifice the musical
value and emphasize the emotion, the meaning, the poetry, the dramatic or
narrative significance of the words. Phrase with this end in view;
sacrifice anything except tone-production to this end. Do not distort the
rhythm, but bend it sufficiently to emphasize important words and
syllables, by holding them a little, at the expense of unimportant words or
syllables. Finally, remember that misguided enthusiasm is not
interpretation.
No real interpretation is possible without a full comprehension of the
meaning of both words and music. Study the voice. Study its possibilities
and its limitations. Study music until the musical element of difficulty is
reduced to a minimum, and until the character, style, and traditions of the
various song forms are well within your grasp. No matter how beautiful may
be the voice, or how well placed, no amount of enthusiasm or temperament
can atone for a meaningless or unintelligent treatment of the intellectual,
emotional, and musical characteristics of the song as a whole.
SUPPLEMENTARY NOTE.
The tendency of many is to raise the hands and arms too high; the hands
should not be raised above the waist-line. If raised too high, the energy
is often put in the action of the arms instead of the body; or the upper
part of the body only is moved, and thus the most important effect or
influence for power and control is wanting. The action must be from the
hips up, and not only from the hips, but the hips must act and expand with
the body. Remember the center of gravity must be at the hips. If it is
found that the tendency is to raise the hands too high, then try or study
the action as follows: