violin, know that certain exercises are indispensable to brilliant
execution, because they strengthen the muscles of the wrist and of the
fingers, and make them obedient to the will. It has even been found that
simple finger gymnastics, exercising separately different sets of
muscles, and making them independent of each other, are of the greatest
value, and save long hours of tedious and wearisome practising. In a
similar manner we may spare ourselves much trouble and gain our end most
readily by vocal gymnastics, calculated to bring into play the
stretching and slackening muscles of the larynx. There is no difficulty
about it. Sing F, the same tone from which we started when exercising
the opening and the closing muscles, and add to it G. The alteration of
the pitch is brought about by a contraction of the stretching muscles
overcoming the resistance of the opposing slackening muscles, thereby
_tensing_ the vocal ligaments. If you again sing F, the case is
reversed, and the new alteration in pitch is brought about by a
contraction of the slackening muscles overcoming the resistance of the
opposing stretching muscles, thereby _relaxing_ the vocal ligaments.
[Illustration: musical notation
_o_ _o_
_ah_ _ah_
_ai_ _ai_
The above is an example. Take great care to render it perfectly. Sing
every tone clearly and distinctly, but without jerking, at the same time
_uniting_ all the tones, but without drawling. Do not try how quickly
you can sing, but rather how distinctly. Commence slowly, and be in no
hurry to increase the speed. Raise and lower the exercise semitone by
semitone within the medium part of your voice. A variety of exercises
founded upon the same principles may be introduced, and will serve to
increase the flexibility of the voice in a very short time.
Now we come to the "Registers" of the voice. I have defined a register
as "a series of tones produced by the same mechanism." The five
registers of which the human voice, taken as a whole, consists, are
carefully described, and the means by which they are formed minutely
explained in a former part of this book. These registers, nevertheless,
continue to be a stumbling-stone to many, and the fact of the existence
in the throat of different actions for the production of different
series of tones has led some teachers into the deplorable mistake of
developing and exaggerating them, instead of, on the contrary, smoothing
them over and equalizing them. The result is that we often hear singers
who seem to have two or three different _voices_. They are growling in
the one, moaning in the second, and shrieking in the third; while it
should have been their aim so to blend and to unite the registers as to
make it difficult even for a practised ear to distinguish the one from
the other. Such singing is outrageous, and I protest against the opinion
expressed in some quarters that it is the natural outcome of the
teachings of the laryngoscope.
In developing and strengthening the registers I base my first exercises
upon the fact that the "Vowel Scale" goes from low to high in this
order; _oo_, _oh_, _ah_, _ai_, _ee_, so that consequently the highest
tones will be produced most readily when singing the vowels in the order
just given.
[Illustration: musical notation
_o_ _ah_ _ai_ _ee_ _ai_ _ah_ _o_
_oo_ _o_ _ah_ _ai_ _ah_ _o_ _oo_
Sing this exercise quite softly, strike each tone clearly and
distinctly, and take a _slight_ inspiration after every tone. Be careful
to take a full inflation only at the beginning, and afterwards to inhale
_less_ air than has been consumed in every preceding tone, or you will
after a while overcrowd the lungs, and experience a sensation of being
choked. This is a thing to be avoided in any case; but under present
circumstances it should be remembered that the short inspirations are
not taken for the purpose of re-filling the lungs, but simply to compel
the "opening and closing muscles" to do their work. By so doing we give
them six times more exercise than by breathing only once at the
beginning; and, what is more important still with regard to our
immediate object, we greatly facilitate the task of the vocal ligaments
to arrange themselves in different ways according to the registers they
are to produce.
It is self-evident that the danger of carrying the mechanism of a
register beyond its proper limit is greater if the vocal ligaments are
kept together, than it would be if they were made to separate, thereby
being enabled to close again under different conditions. It will be
seen, therefore, that the slight inspirations after every tone are an
essential part of the exercise, and must on no account be omitted. The
exercise is to be taken at a convenient pitch, and then to be raised
semitone by semitone in accordance with the requirements of individual
voices. It may, after some time, be taken right through upon the vowel
_ah_, and finally _legato_, gradually increasing the speed, to the
Italian word _scala_, singing the syllable _la_ to the last note.
The change from one register to another should always be made a couple
of tones below the extreme limit, so that there will be at the juncture
of every two registers a few "optional" tones which it is possible to
take with both mechanisms. The singer will be wise, however, to avail
himself of the power of producing an optional tone with the mechanism of
the lower register only on rare occasions. To force the register beyond
its natural limit is, of course, infinitely worse, and should never be
tolerated. The practice carries its own punishment, as it invariably
ruins the voice; and tones so produced always betray the effort
(frequently in a most painful degree), and are consequently never
beautiful.
It is to be observed that the exercise given above may be varied to any
extent, so long as it is based upon the principle which has been
explained. The beneficial results in the development of the voice will
speedily be noticed, and then sustained tones may be sung through the
whole compass after the orthodox fashion.
This brings me to the consideration of the "mixed voice," which is
essential in bridging over the break between the "upper thick" and the
"lower thin" of the tenor, and which is also frequently made use of by
baritones and basses in the production of their highest tones.
The "voce mista" is "mixed" in this sense, that it combines the
_vibrating mechanism_ of the "lower thin" with the _position of the
larynx_ of the "lower thick;" that is to say, while the vibrations are
confined to the thin inner edges of the vocal ligaments, the larynx
itself takes a lower position in the throat than for the "lower thin,"
and the result is a remarkable increase of volume without any
corresponding additional effort in the production of tone. A few trials
before a looking-glass will at once prove the correctness of this
explanation, and, what is of more practical consequence, will enable the
student with a little practice to overcome the serious difficulty of
singing high tones without straining, yet with a fulness capable of
being increased or diminished at pleasure.
The last thing we have to consider is the "resonator" of the human
voice, namely, the upper part of the throat, the mouth, and the nose.
Whether we sing _ah_, _ai_, _ee_, _o_, or _oo_, the original tone
produced by the vibrations of the vocal ligaments is in either case
absolutely the same, and it takes the form of one vowel or another,
solely according to the shape which the "resonator" assumes, and which
may be described as a mould into which the tone is cast. The quality of
the voice also--its throatiness, its nasal twang, its shrillness,
harshness, and ugliness, or its purity, roundness, fulness, and
beauty--depend mainly upon the nature of the resonator, and upon the
way in which we work it. It is, therefore, a matter of the highest
importance to be fully acquainted with this part of the vocal apparatus,
and I hope my readers will follow me in a brief consideration of it with
the more pleasure, as we are now speaking of parts which are directly
under the control of our will, and upon the proper management of which
so much depends.
There is a most able, most painstaking, and most instructive work upon
this subject, "Pronunciation for Singers," by Alexander Ellis, Esq.,
F.R.S., &c., published by J. Curwen and Sons, to which I would call the
attention of all who desire to make the best use of their voices. To be
really understood this book requires that the student should
conscientiously carry out all the experiments Mr. Ellis suggests. But
any one doing so will, I venture to assert, rise from the study of this
subject with a deeper conviction of the immense importance of the
"resonator," and with a clearer perception of the best way of managing
it than he ever had before. I obtain better and quicker results with my
pupils since I have learnt the lessons Mr. Ellis teaches, and I have no
doubt my fellow teachers will derive similar benefit from their study.
One of the few points upon which "doctors" do not differ is that the
tone, in order to be pure, resonant, and far-reaching, must be allowed
to come well to the front of the mouth. It should, as the phrase goes,
be directed against the hard palate just above the front teeth. But this
is an unfortunate way of putting it, as the tone fills the whole cavity
of the mouth, and cannot be "directed" like a jet of water upon any
given point. Nevertheless the idea sought to be conveyed by the
injunction is good, for it is certainly essential to good quality that
the tone should be brought well forward in the mouth. This is frequently
prevented by several circumstances which we will now consider:--
The "soft palate" may be in the way. This is the movable partition
shaped like an arch with the little pendant called the "uvula" hanging
down in the centre. It acts like a curtain. If we lower it, it hangs
upon the back of the tongue, shutting off the mouth from the throat,
thereby compelling the tone to pass through the nostrils, and thus
giving it a nasal quality. This nasal quality increases the more the
passages through which the tone has to travel are impeded; but the first
and indispensable condition for its existence is the lowering of the
soft palate. Raise this, and you may completely shut the nostrils and
yet produce a pure vocal tone. The reason is that, with the soft palate
_up_, the nose is shut off from the throat, thereby compelling the tone
to pass through the mouth.
But more, the soft palate is never still for a moment while we are
singing or speaking, as it assumes a different degree of tension for
every vowel and also for every pitch of the voice. We see, therefore,
that this curtain has great influence upon the management of the voice,
and we should do all we can to get it under our control. In order to
accomplish this, arrange a mirror so that you get the light reflected
upon the back of your throat without bending the head, stretching the
neck, or otherwise assuming an awkward position. I recommend reflected
instead of direct light, because with the latter it is almost impossible
to get a perfect sight of the soft palate without making any
contortions, and these, however slight, are fatal to success. The
management of the light will, no doubt, offer a little difficulty to
those not practised in these matters, but once made it is easily
rearranged, and the gain is great.
The mirror mentioned above is to throw the light into your mouth; you
will require another one in which to see the image. Now try the
following: Open your mouth and breath through the nostrils; the soft
palate will immediately drop upon the tongue. Sing while it is in this
position, and you will produce nasal tone. Now breathe through the
mouth, and the soft palate will rise. Raise it higher still, by
attempting to yawn, till the uvula almost disappears. Sing again with
the soft palate in this position, and if nothing else interferes you
will produce pure vocal tone. If you sing up and down the scale you will
perceive that the soft palate to some extent rises and falls with the
pitch of your tones. You will also notice that the tension of it
increases as you approach the the limit of one register, and that it
diminishes as soon as you change into the next register above. All these
things, and a great many besides, you will notice if you observe
carefully, and by a little steady practice you will acquire easy control
over the movements of your soft palate, the beneficial results of which
will soon be manifested in the improved quality and the better
management of your voice.
This leads me to remark that the soft palate should, as a matter of
course, be in a perfectly healthy condition, or it cannot perform the
infinite variety of movements required from it. In many cases however,
it is in a very different state, the arch being congested, the uvula
elongated, and the tonsils greatly enlarged. People with a soft palate
like this are handicapped. They might as well try to run a race with a
heavy weight on their shoulders as to sing or speak with such
impediments in their throats. They should at once put themselves in the
hands of a properly qualified medical practitioner, who may probably
recommend clipping of the uvula or excision of the tonsils. Either
operation is a slight one, and in suitable cases nothing but good can
follow from it.
Another obstacle to the forward production of tone is often caused by
that great movable plug called the tongue. We have it on the highest
authority that the tongue is an "unruly member." It is sometimes
difficult to keep it under proper control, and with some people it is
continually running away altogether. As under ordinary circumstances, so
in singing. Instead of peacefully assuming the position necessary for
the production of the various vowels, the tongue rises in rebellion; it
arches up, stiffens and defies all attempts to keep it in order. The
tone is consequently more or less impeded and shut in, with the result
of making it guttural or throaty. Here again singing before the mirror
as described above will enable the student to master his tongue and to
improve his voice to a wonderful extent. All voice trainers, as I have
said before, agree that tone should be allowed to come well forward, and
the best plan to bring about this desirable end is to sing _oo_, then to
allow _oo_ to dwindle into _o_, and finally to allow _o_ to dwindle into
_ah_.
In some cases these _oo-o-ah_ exercises are insufficient because the
throatiness of tone is partly brought about by a stiffening of the
throat in general. The _oo-o-ah_ must then be preceded by staccato
exercises upon the syllable _Koo_, which have the effect not only of
throwing the tone forward, but also of making the throat supple. Make
the experiment before a mirror and you will see the reason.
I should have pointed out in the course of this chapter that one of the
great secrets in the production of fine resonant and far-reaching tone
consists in using as little air as possible; and I conclude by advising
all those who want to be heard to open their mouths, a thing which,
curiously enough, many people in these islands seem to be determined not
to do.
_APPENDIX TO THE NINTH EDITION_
VOICE FAILURE.
A NEW CHAPTER, WRITTEN FOR THE NINTH EDITION, BY MRS. EMIL BEHNKE.
The large and ever increasing number of professional voice users of all
classes and of all grades who break down in voice is matter for serious
and earnest consideration. Innumerable students of singing of both
sexes, in England and abroad, suffer shipwreck of their hopes and
ambitions in the loss of their voices during the process of training,
long before the period arrives for professional and public voice use. In
some of these cases general delicacy of constitution has been the
principal factor in the failure; in others weakness of throat or lungs
may have been a cause. But after making ample allowance for such
physical contributories, we are still face to face with the fact that
voice failure, accompanied by throat ailments, more or less serious,
occurs with startling frequency, and no other reason is assigned for it
than the irresponsible, indefinite one that the voice broke down under
training. Of the infinitesimal number of successful students--that is to
say, of those who, having completed their studies, come before the
public as professional singers--so few escape the common lot that it
would almost appear as if a fatality attended the following of the
vocal art; yet from a health point of view, singing is an admirable
exercise, and abundant medical testimony has been adduced in proof of
this statement.
There are, of course, other causes of non-success in vocal students
besides break-down of voice. A fine voice and good musical knowledge are
but parts of the equipment of the singer; if he have not the soul of an
artist he will never rise above mediocrity. With musical and artistic
failures this chapter has nothing to do, but only with preventible
causes of break-down, such as have come under my personal observation
from close association with the work of my late husband, and also in my
own and my daughter's work since his lamented decease.
In the establishment of a rule or law founded upon general truths, a
number of examples bearing upon the subject under consideration are
relied on as conclusive evidence, and by their use we are enabled to
analyse reasons and deduce conclusions.
From the examination of a large number of cases of vocal failure in
singers and in speakers who have placed themselves under my tuition for
recovery of voice, I have found that among the most frequent and most
injurious mistakes are:--
1st. Wrong methods of breathing and of breath management.
2nd. Loud singing and shouting.
3rd. Neglecting to cultivate the resonators.
4th. Forcing: (_a_) the registers; (_b_) the top notes.
INCORRECT BREATHING.
As regards methods of breathing, the descriptions and instructions given
in this volume require no addition, and if carefully followed will prove
of inestimable advantage both hygienically and vocally. It is, however,
a fact that, not only in England, but also on the Continent, pupils are
taught to breathe clavicularly, in opposition to Nature's method, which
is diaphragmatic--_i.e._, the combined forms of rib and diaphragm
breathing. The following is a striking example of the evil of clavicular
breathing.
During last summer an American lady, who had been studying singing in
Milan for three years, came to me in great distress. She had expected to
appear in Grand Opera in London, but, alas! her voice broke down, and
serious throat troubles manifested themselves. She had lost all the
upper notes of her voice from C in alt. down to D in the stave, and what
was left of it was thin, reedy, and tremulous, like that of an old woman
instead of a girl of 24. Her master had insisted on clavicular
breathing, the result being that when her lung capacity was tested it
registered only 80 cubic inches instead of 240. In addition to faulty
breathing, she had been allowed to force up the registers of the voice
to such an extent as to bring on serious congestion, with varicose veins
in the vocal ligaments and in the pharynx. After several lessons the
breathing capacity increased to 200 cubic inches, the voice regained
some of the upper notes, and lost the "cracked," tremulous sound. In
time, with great care, the majority of the notes will come back, but
probably C in alt. will never be reached again, and the general
deterioration of voice may never be fully overcome.
Numerous similar instances, in men's voices as well as in women's, could
be adduced, but the foregoing suffices; the results of incorrect
breathing and of forcing being much the same in all cases, differing
principally in degree.
In the "Treatise on the Art of Singing" by the late Signor Lamperti,
occurs the following passage, which fully bears out the necessity for
diligent acquirement of correct methods of breathing:--"Masters of the
present day, instead of obliging pupils to make a severe study of the
art of respiration, as a rule, omit it altogether, and take them through
the greater part of a modern opera at every lesson, to the certain ruin
of their voices, and often at the expense of their bodily health. How
many young singers come to Milan or to Paris with beautiful voices,
musical talent, and every other natural gift, who, after putting
themselves under the guidance of a master for two years, study modern
operas; how many of these unfortunately find at the time of their
_debut_ that their voices, instead of being fresh and improved by
education, are already worn and tremulous, and that, through the
ignorance of their master, they have no longer any hope of success in
their artistic career, which was finished before it was begun." A sad
but an "ower true" description, applicable to other centres of
voice-training besides Milan and Paris.
It is scarcely possible to over-estimate the importance of correct
methods of breathing and of breath management to all voice users,
whether they are singers or speakers. As breath is the motive power of
all voice it needs but little consideration to arrive at the conclusion
that the best method of supply and control of this motor power is of
vital necessity to those who depend upon their voices for success in
their vocation, whether it be that of singer, clergyman, lecturer, or
actor.
Some of the worst descriptions of stammering owe their origin to
improper breath management, and numbers of such cases which have been
under my care have been perfectly cured by specially designed breathing
exercises, adapted to the requirements of each individual case, combined
with training of the various muscles employed in articulation. As no
two persons stammer alike there can be no universal panacea for the cure
of this terrible affliction; it is, therefore, necessary to study the
peculiar idiosyncrasies of each case before formulating a plan of
treatment; and this makes it impossible to write rules for self-cure
suited to every case.
LOUD SINGING.
The practice of always singing loudly is greatly to be deprecated,
leading as it does to undue strain, to coarseness of the voice, and to
utter inability to modulate it into softness and purity of tone. Anyone
can shout and bawl, but not every one can sing softly--therefore always
practise softly until the voice be well formed, when it will be easy to
increase the volume of sound. Constant shouting causes the muscles of
the larynx to lose their contractile power, and a condition is brought
about which is analogous to writer's cramp. Sometimes no voice can be
produced, while at others it is given forth in a series of
uncontrollable jerks. Singers deficient in resonance, and who have not
acquired the best use and control of the various parts of the resonator,
resort to the objectionable practice of forcing their voices, relying
upon power of blast and vigour of shout instead of cultivating
resonance. A loud, big voice, produced with effort, is a manifestation
of a certain amount of physical power; but such voice-production is not
singing, it is mere shouting. Tones so produced will ultimately show
their bad origin by the effect left behind on the misused muscles.
CULTIVATION OF THE RESONATORS.