In the mass of traditions, suggestions and advice which go to make the
"bel canto" style, probably nothing is so important to American students
as that which pertains to conserving the voice. Whether our girls are
inordinately fond of display or whether they are unable to control their
vocal organs I do not know, but one is continually treated to instances
of the most ludicrous prodigality of voice. The whole idea of these
young singers seems to be to make a "hit" by shouting or even
screeching. There can be no milder terms for the straining of the tones
so frequently heard. This prodigality has only one result--loss of
voice.
The great Rubini once wrote to his friend, the tenor Duprez, "You lost
your voice because you always sang with your capital. I have kept mine
because I have used only the interest." This historical epigram ought to
be hung in all the vocal studios of America. Our American voices are too
beautiful, too rare to be wasted, practically thrown away by expending
the capital before it has been able to earn any interest.
Moreover, the thing which has the most telling effect upon any audience
is the beauty of tone quality. People will stop at any time to listen
to the wonderful call of the nightingale. In some parts of Europe it is
the custom to make parties to go at nights to the woods to hear that
wonderful singer of the forests. Did you ever hear of any one forming a
party for the express purpose of listening to the crowing of a rooster?
One is a treat to the ear, the other is a shock. When our young singers
learn that people do not attend concerts to have their ears shocked but
to have them delighted with beautiful sound, they will be nearer the
right idea in voice culture.
The student's first effort, then, should be to preserve the voice. From
the very first lesson he must strive to learn how to make the most with
little.
How is the student to know when he is straining the voice? This is
simple enough to ascertain. At the very instant that the slightest
constriction or effort is noticed strain is very likely to be present.
Much of this depends upon administering exactly the right amount of
breath to the vocal cords at the moment of singing. Too much breath or
too little breath is bad. The student finds by patient experiment under
the direction of the experienced teacher just how much breath to use.
All sorts of devices are employed to test the breath, but it is probable
that the best devices of all are those which all singers use as the
ultimate test, the ear and the feeling of delightful relaxation
surrounding the vocal organs during the process of singing.