FIFTH PRINCIPLE
_Speaking_ and _singing_ are _similar functions_, produced by
the same physiological mechanism; therefore they are the same
vocal phenomenon.
The speaking voice acts as the substantial factor of the singing
voice and constitutes its real support. Singing, in its very
essence, is merely speaking in musical rhythm; hence no correct
singing can exist without a correctly produced speaking voice.
Voice is speech made up of words formed of vowels and
consonants. In its complete form voice comprises two like
phases, similar and closely connected, though slightly different
in the degree of their intensity and effect; one is related to
speaking, the other to singing.
Scientifically, however, there is no difference between the
speaking and the singing voice as physiological phenomena, both
being produced by the same vocal organs with an identical
mechanism; nor is there any difference in their phonetic
elements, except that singing is emphasized by musical colors.
The speaking voice prepares the words for the singing voice,
which adds to them the beauty of rhythmic melody. Vocal
principles and rules referring to one must logically apply to
the other.
The idea of claiming an intimate physiological relationship
between the speaking and the singing voice is not new, as many
writers on voice have given more or less attention to this
subject. But its vital importance in relation to voice
production has been entirely overlooked thus far, or
underestimated to such an extent as greatly to have hampered the
progress of voice culture.
To us, however, it represents a factor of the most essential and
inestimable value, since it constitutes the platform on which
our method of producing and placing the voice is based. It is,
therefore, our earnest desire to call the attention of voice
experts to this subject, so as to create a deeper interest in
the close connection existing between these two intimately
related forms of the same physical element which constitutes the
human voice.
Fundamentally, speaking and singing are produced by the same
physiological mechanism. They are both formed by the coöperation
of the moving, producing, and resonating power, though the vocal
organs act with more efficiency when the singing voice is
concerned, and whether in speaking or in singing it is to the
medium of phonetic expressions—words—that we have recourse to
express our ideas or sentiments.
In the fusion of these two elements, the speaking voice
constitutes the material part, the backbone or the basis of the
singing; consequently it cannot be disassociated in the
mechanism of singing, otherwise, by losing its support, the
latter would be deprived of its substantial element. In fact,
the physical phenomenon—voice—is preceded first by the material
act of speaking, and followed by the complementary and
decorative one of singing.
The sounds as produced by the vocal cords, if prevented from
being transformed into words cannot express anything but
physical tones. It is obvious then, that in singing the
_psychological_ mission of expressing our feelings is entrusted
to words and not to sounds, and these words can be furnished
only by the speaking voice through the myriad combinations of
vowels and consonants. Thus, since no other element but the
speaking voice is able to produce them, it is but logical that
the basis of the singing voice is the speaking voice.
To give a practical, though rough demonstration of the
relationship of the speaking voice with the singing voice, we
must think of the former as something material, which serves as
the underlying support for the latter and constitutes its
substantial intrinsic power during the act of singing. It may be
said that it represents the raw and solid elements of the
phenomenon—voice—to which singing adds the psychological
adornment and finish, through its musical rhythms and colors,
just as in a beautifully finished palace the steel skeleton and
brick walls constitute the solid, material support of the
building, whereas the ornamental finish, in the form of artistic
decorations, lends style to the palatial edifice.
Therefore, since the rôle played by the speaking voice in the
mechanism of singing is of such essential importance, its
correct production is the most indispensable factor and asset
for creating a beautiful singing voice. It is the corner stone
on which the foundation of correct singing is built.
In cases in which the relationship between these two forms of
the same element is disturbed, the singing voice is always the
one which suffers. In fact, a deformed and disagreeable speaking
voice can never develop into a correct and pleasing singing
voice, because, being its intrinsic factor it cannot avoid
lending to singing its defects as well as its beautiful
characteristics, when they exist.
Cases in which the singing voice proves different and more
agreeable than the speaking voice are those in which the latter
is so falsely produced as to be entirely deprived of all its
natural qualities. Likewise, cases in which the speaking voice
is correctly produced, and the singing voice is defective, are
those in which the latter is not molded on the former, thereby
losing all the advantages it would derive from it.
It occasionally happens that the speaking and singing voices are
produced by the same individual independently of each other, as
in the case of singers who unconsciously talk with one voice and
sing with an entirely different one. In such cases either the
singing voice is artificial, being composed of only the original
sounds of the vocal cords before they are transformed into voice
(a falsetto voice), or the speaking voice is produced by a very
defective mechanism, which becomes improved during the act of
singing.
At any rate, if the mechanism of voice production in singing
loses its fundamental relationship with the speaking voice, it
is almost impossible to prevent the tones from being produced in
the throat, which constitutes the most appalling defect known as
throaty production.
Artists who sing with this method never succeed in making the
audience understand their words. In fact, remarks like, “His
voice is so throaty;” “He (or she) sings so badly, in his
throat;” “I don’t understand a word he sings,” are very
frequently heard in the audience, and it is unnecessary to
emphasize that even the general impression of the layman is that
a voice produced in the throat is entirely misplaced and ugly.
Theories or practice, therefore, which bring about a throaty
production are fallacious, and are responsible for the worst
defects in voice production.
The erroneous principle that _sounds_ are the central element in
singing has been presented in many books and enforced by many
methods of singing, proving a dangerous influence in voice
culture. These methods, by discarding natural production, are
compelled to resort to elaborated technicalities in order to
compensate for the deficiencies of the voice resulting from its
misplacement and faulty production. Therefore, all the
gymnastics of the voice, and the many kinds of muscular
exercises inflicted upon pupils, with the idea that they
constitute the proper and physiological ground for voice culture
and create an efficient mechanism of singing are ridiculous
contrivances, fit rather for an acrobatic education than for
students of the art of singing.
In a book dedicated by a singing teacher to her twenty-nine
hundred pupils, we find this statement: “It is a positive fact
that the voice is in the throat.... When a maestro says to a
pupil who emits a bad tone, ‘Don’t sing from the throat,’ he
makes a wrong statement, as we must necessarily sing from the
throat, nature having placed the larynx in the throat. If he
were to say, ‘Don’t press or squeeze the throat,’ he would speak
more correctly.”
Evidently this singing teacher bases her remark on the belief
that the larynx is the real center of the voice, which is not
true, and makes no discrimination whatever between sound and
actual voice.
While it is true that we produce _sounds_ with the throat, we
must _not_ necessarily sing from the throat, if we are to obey
the laws of natural mechanism of voice production which place
the voice in the _mouth_. The mere precaution not to squeeze the
throat does not prevent the defect of producing the voice in the
throat. That can be accomplished only by giving to the throat
the sole attribute of forming the sounds and leaving to the
mouth the function of transforming them into voice. The author
is insistent on this subject, because a throaty production
destroys entirely the innate connection of the speaking with the
singing voice, thereby creating a condition contrary to
physiological laws.
The falsity of all the vocal theories identified with physical
training is obvious. The throat has only the physical power of
producing sounds, and even these must be the result of an easy
mechanism so as not to cause any disagreeable sensation or ill
effect to the throat of the singer. These sounds, being only the
germ of the voice, are naturally poor tones, which cannot be
compared with the resonant phenomenon of voice as completed in
its full form in the mouth and enriched by the coöperation of
the resonance chambers.
In a résumé we wish to state emphatically that the speaking
voice, as the physical basis of the singing voice, is also its
psychological medium for expressing emotions and consequently
constitutes its natural element for building up both a correct
and an artistic method of singing. It is merely a law of nature
that we cannot disregard the support of the speaking voice in
the production of the singing voice. Speaking beautifully and
resonantly, in fact, is equivalent to singing, without musical
rhythm, and with less brilliancy and color. Sarah Bernhardt,
Eleonora Duse, and many other celebrated dramatic artists have
given full evidence of this statement.
The speaking voice, when correctly and beautifully produced,
lending to singing its substantial element in the form of words
made up of vowels and consonants, makes us think of the
well-shaped stones of a mosaic, which, being equal, smooth and
artistically arranged, make of the mosaic a perfect work of art.
The singing composed of beautifully spoken words bends toward
artistic perfection. Hence, going to the very root of voice
production, only by forming correct and euphonic vowels and
consonants can a correct and artistic method of singing be
established.
By making of the speaking voice the leader and guide of the
singing voice, the words become the essential elements on which
singing is built. Therefore a singing voice molded on the
speaking voice gains the advantage of taking over all its
attributes, characteristics, and qualities.
In the singing of that master of song, Enrico Caruso, one of the
most striking features was his rendition of the so-called
“recitative” of the operas. His “recitative”—the nearest thing
to melodious talking—was the clearest, most colorful and
brilliant display of what a valuable coöperator the speaking
voice is in singing. He gave more delight to the world, and
raised more emotions with his musical speaking than many singers
with their big or pure tones, which, no matter how pure or big,
are far from reproducing the real human voice. Human voice is
made of vocal color expressing human pathos, a characteristic
which is absent when producing tones, as in the case of a
musical instrument. Human pathos was the magic power of Caruso’s
voice, that voice which penetrated to the innermost depths of
the souls of all those who have had the good fortune to hear
him.