In writing about one of the greatest faults in the teaching of vocal
music I wish to put my most emphatic criticism upon the Tremolo in the
voice and condemnation upon those who vitiate the human voice with the
most intolerable fault that any one who pretends to sing could
practice. In "The Musician" of November, 1908, there was an article
upon this subject, which I read with profound interest and I wrote to
Ditson & Co. to allow me the privilege of using the article as it was
just the very thing that the student who was learning to use the voice
ought to read. I was happily granted permission. The article entitled
"The Singers tremolo and vibrato--their origin and musical value," was
written by Lester S. Butter, who says:
"In April, 1795, in Romano, Province of Bergano, was born Rubini, King
of tenors. His voice, small in the beginning, developed marvelously in
tone volume and the swell and diminish of tones (messa di voce) called
by the Italians 'vibrato of the voice' was the characteristic of his
style.
"This ebbing and flowing undulating wave of sound upon sustained notes
was the source from which sprung the modern tremolo and vibrato, which
is so much in evidence among singers and so offensive to all really
refined musical taste. There seems to be considerable confusion among
singers and even writers as to the use and meaning of tremolo and
vibrato. These terms seem to be used synonymously and the latter is
used where messa di voce is meant. The Standard dictionary defines
vibrato as a trembling of pulsating effect in vocal music caused by
rapid variation or emphasis of the same tone (evidently messa di voce)
proper distinguished from tremolo, where there is a vibration of
tones; and the latter is a vibrating beating or throbbing sound
produced by the voice or instrumentally.
[Illustration: MRS. BLAKE-ALVERSON AND HER TWO SONS