Singing was designed by the Creator as a means of giving vent to joyous
emotions. When one is overflowing with happiness it is entirely natural
for him to break forth into song. Therefore when you sing the bodily
mechanical efforts associated therewith are naturally inclined to
arouse the mental attitude of joy, delight and allied emotions. I have
already explained the tremendous value of certain bodily
positions and mechanical efforts as a means of influencing the mental
attitude. If singing is naturally the expression of joy, then by forcing
oneself to sing when mentally downcast one encourages, and at times
actually produces, happiness and good cheer.
But it is not only for its influence upon the mind that singing is
valuable. It is a physical exercise requiring considerable effort. It
wakes up the diaphragm. It promotes active circulation. It improves
digestion. Therefore it has a double value for stimulating the physical
as well as the mental functions. I would by all means encourage every
inclination towards physical efforts of this sort.
Remember that the cultivation of the singing voice especially requires
the expansion of the lungs. It means that breathing exercises of
unusual value will be practiced diligently and persistently on every
occasion that you exercise your vocal powers. It not only affects the
lungs but the action of the diaphragm involved, and serves to massage,
stimulate and invigorate the internal organs lying underneath. There
is no need to dilate upon the value of exercise of this sort, for I
have referred to this aspect of the question in a previous chapter.
If you have no special knowledge or training in the use of the singing
voice, then simply do your best. Sing at every opportunity. If there
is no music in your voice do not allow this to discourage you. Follow
out the idea that singing is an exercise pure and simple. Let your
friends understand that you are not impressed with your vocal ability,
but that it is simply a form of exercise you take with religious
regularity. Naturally if you can secure the opportunities associated
with a musical education you are to be congratulated, and musical
training largely devoted to vocal culture is far more valuable in its
influence upon physical and mental powers than when limited to
instrumental work.
Even apart from singing a good voice represents capital of great value.
Any efforts that you make with a view to developing the singing voice
will improve the speaking voice to a similar degree. Effective speakers
do not always have musical voices, but all good singers possess good
speaking voices. Therefore the work that you may do with a view to
improving your singing voice will surely add to your vocal capital.
Furthermore, all the time spent in the development of your voice should
be looked upon as a recreation. If you can make voice culture a hobby,
so much the better. There is really no better means of taking one "away
from oneself." You will find no more effective means of diversion from
exhausting mental responsibilities, since you cannot think of something
else while devoting your entire attention to singing.
Your mental attitude makes considerable difference in the results.
Singing, as I have previously explained, is an expression of joy. To
sing properly you should really be influenced by joyous emotions, and,
though your musical efforts may be forced and mechanical in the
beginning, you will usually find that the delight ordinarily associated
with vocal expression will soon appear as a result of the physical
and mechanical efforts involved in the training of the voice.
Naturally it is advisable to use the singing voice in the most
advantageous manner, if possible, and it would therefore be well to
secure the advice of competent instructors if you can, or at least to
gain what helpful information there is in books on the subject. It is,
of course, impossible to give any detailed advice in this short
chapter, but I may say that I am engaged in the preparation of a book
on vocal culture which will deal with the subject in an unusually
practical manner. Voice culture, in many instances, is a mysterious and
intricate study that even many of its teachers do not seem to
understand in every detail. It is a notorious fact that many so-called
vocal instructors, including some of the highest-priced members of the
profession, frequently ruin magnificent voices by wrong methods of
instruction. It is a simple matter to build up a good voice, but it is
also a simple matter to ruin one by unnatural methods of training.
It is therefore well to learn to use the voice in a strictly natural
manner, and without any straining or forcing of the tone. For instance,
it is advisable to avoid any constriction of the muscles of the throat;
that is to say, there should be no tension in the throat when singing.
One should learn how to "place" the voice. Resonance is all-important.
Many really good teachers differ as to the proper methods of using the
voice. Although there may be a reasonable excuse for a difference on
some of the minor details of voice culture, yet there are certain
fundamental principles upon which there should be a definite agreement,
and it is these basic principles which will be presented in the book
to which I have just referred.
At all events, whether or not you desire to take up vocal culture in a
serious way, at least you should make it a point to sing at
every opportunity. Break forth into song whenever the slightest excuse
appears. If your voice is harsh, unpleasant and reminds your friends
of a carpenter filing a saw, do not be discouraged. Every vocal artist
had to make a beginning. No matter how bad your efforts may be
you can probably recall voices that are still worse. Remember also that
all voices improve with training. It is a matter of common
agreement among instructors that anyone who possesses a speaking voice
can also learn to sing. Anyway, at the worst, your hours of practice can
be so arranged as to avoid annoying other people, or you can adopt a
method that I have often used. For instance, when you are on a train, or
in a busy centre of the city in which there is a combination of noises
which will drown your own voice, you can then sing or hum to your
heart's content without annoying others. Remember that humming, if you
carry it out with sufficient breath to produce real resonance, is
practically as good as singing for the training of the voice.
There is one particular point of special value, and that is the
advantage of singing when the stomach is empty. Vocal artists commonly
refuse to sing immediately after eating. Your voice is free and full and
clear when the stomach is empty. A few minutes of singing before each
meal would enable one to digest his food far more satisfactorily. It
would also establish the mental attitude best suited to perfect
digestion.
Whenever you find responsibilities crowding upon you beyond your power
to bear them, or when you realize that your mental attitude is
sour, crabbed and pessimistic, then is the time to break forth into
song. Nothing will bring about a pleasing change more quickly. Hum a
tune. Sing some popular song. Put your soul into your efforts as much
as possible, and you will literally be amazed at the value of this
suggestion.