The accent of truth apparent in the voice when speaking
naturally is the basis of expression in singing.
Garcia. _Hints on Singing_.
First determine the general character of the song. A careful study of
the words will enable the student to find its general classification. It
may be dramatic, narrative, reminiscent, introspective, contemplative,
florid, sentimental.
The following are examples:
Dramatic, _The Erl King_, Schubert.
Narrative, _The Two Grenadiers_, Schumann.
Reminiscent, _Der Doppelgänger_, Schubert.
Florid, _Indian Bell Song_, from Lakme, Delibes.
Introspective, _In der Frühe_, Hugo Wolf.
Contemplative, _Feldeinsamkeit_, Brahms.
Songs of sentiment. This includes all songs involving the affections and
the homely virtues.
To these might be added songs of exaltation, such as Beethoven's
"Nature's Adoration." Character songs, in which the singer assumes a
character and expresses its sentiments. A good example of this is "The
Poet's Love" cycle by Schumann. Classifying the song in this way is the
first step toward discovering its atmosphere. There is always one tempo
at which a song sounds best and this tempo must grow out of a thorough
understanding of its character. Metronome marks should be unnecessary.
Intelligent study of a song will unerringly suggest the proper tempo.
Next, study the poem until it creates the mood. Read it, not once, but
many times. Imbibe not only its intellectual but its emotional content.
It is the office of poetry to stimulate the imagination. It is under the
influence of this stimulus that songs are written, and under its
influence they must be sung. Hugo Wolf said that he always studied the
poem until it composed the music. This means that he studied the poem
until he was so filled with its mood that the proper music came of
itself. Fix in mind the principal points in the poem and the order in
which they occur. There usually is development of some kind in a poem.
Learn what it is. Notice which part of the poem contains the great or
central idea. Read it aloud. Determine its natural accent. The singing
phrase grows out of the spoken phrase. Singing is elongated, or
sustained, speech, but it should be none the less intelligent by reason
of this.
Now adapt the words to the music. If the music has grown out of the
words as it should, it will follow the development of the poem and give
it additional strength.
By this time one should be in the mood of the song, and he should not
emerge from it until the song is finished. If one is filled with the
spirit of the song, is sincere and earnest, and is filled with a desire
to express what is beautiful and good he will not sing badly even if his
voice be ordinary.
The composer may do much toward creating the mood for both singer and
listener by means of his introduction. The introduction to a song is not
merely to give the singer the pitch. It is for the purpose of creating
the mood. It may be reminiscent of the principal theme of the song, it
may consist of some fragment of the accompaniment, or any other
materials which will tend to create the desired mood.
In the introduction to _Rhein-gold_ where Wagner wishes to portray a
certain elemental condition he uses 136 measures of the chord of E flat
major.
In _Feldeinsamkeit_ (The Quiet of the Fields) where the mood is such as
would come to one lying in the deep grass in the field watching "the
fair white clouds ride slowly overhead," in a state of complete
inaction, Brahms establishes the mood by this treatment of the major
chord.
[Illustration: Figure K]
In _Der Wanderer_ (The Wanderer) Schubert uses this musical figure to
indicate the ceaseless motion of one condemned to endless wandering.
[Illustration: Figure L]
In _The Maid of the Mill_ cycle where the young miller discovers the
brook Schubert uses this figure, which gives a clear picture of a
chattering brooklet. This figure continues throughout the song.
[Illustration: Figure M]
In the song _On the Journey Home_, which describes the feelings of one
who, after a long absence returns to view the "vales and mountains" of
his youth, Grieg, with two measures of introduction grips us with a mood
from which we cannot escape.
[Illustration: Figure N]
But one of the most striking examples of the operation of genius is
Schubert's introduction to _Am Meer_ (By the Sea). Here with two chords
he tells us the story of the lonely seashore, the deserted hut, the
tears, the dull sound of breakers dying on a distant shore, and all
around the unfathomable mystery of the mighty deep.
[Illustration: Figure O]
Classic song literature is full of interesting examples of this kind. If
we learn how to study the works of these great ones of the earth we
shall see how unerring is the touch of genius, and some day we shall
awaken to see that these kings and prophets are our friends, and that
they possess the supreme virtue of constancy.