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+The Project Gutenberg EBook of How to Sing, by Lilli Lehmann
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: How to Sing
+       [Meine Gesangskunst]
+
+Author: Lilli Lehmann
+
+Translator: Richard Aldrich
+
+Release Date: August 25, 2006 [EBook #19116]
+
+Language: English
+
+Character set encoding: ISO-8859-1
+
+*** START OF THIS PROJECT GUTENBERG EBOOK HOW TO SING ***
+
+
+
+
+Produced by David Newman, Linda Cantoni, and the Online
+Distributed Proofreading Team at http://www.pgdp.net
+
+
+
+
+
+
+
+
+
+HOW TO SING
+
+[MEINE GESANGSKUNST]
+
+
+BY
+
+LILLI LEHMANN
+
+
+[Illustration: MADAME LILLI LEHMANN.]
+
+
+TRANSLATED FROM THE GERMAN
+
+BY
+
+RICHARD ALDRICH
+
+New York
+THE MACMILLAN COMPANY
+LONDON: MACMILLAN & CO., LTD.
+1902
+
+_All rights reserved_
+
+COPYRIGHT, 1902,
+BY THE MACMILLAN COMPANY.
+
+Set up and electrotyped November, 1902.
+
+Norwood Press
+J.S. Cushing & Co.--Berwick & Smith
+Norwood Mass. U.S.A.
+
+
+[Transcriber's Note: In this e-text, characters with macrons are
+preceded by an equal sign and enclosed in brackets, e.g., [=a].
+Characters with breves are preceded by a right parenthesis and
+enclosed in brackets, e.g., [)e]. Superscripted characters are
+preceded by a carat, e.g., Gretel^e.]
+
+
+
+
+CONTENTS
+
+
+                                                                  PAGE
+
+MY PURPOSE                                                           1
+
+MY TITLE TO WRITE ON THE ART OF SONG                                 5
+
+
+SECTION I
+
+PRELIMINARY PRACTICE                                                11
+
+
+SECTION II
+
+OF THE BREATH                                                       19
+
+
+SECTION III
+
+OF THE BREATH AND WHIRLING CURRENTS                                 27
+
+
+SECTION IV
+
+THE SINGER'S PHYSIOLOGICAL STUDIES                                  35
+
+
+SECTION V
+
+EQUALIZING THE VOICE; BREATH; FORM                                  45
+
+
+SECTION VI
+
+THE ATTACK                                                          69
+
+
+SECTION VII
+
+NASAL. NASAL SINGING                                                73
+
+
+SECTION VIII
+
+SINGING TOWARD THE NOSE. HEAD VOICE                                 78
+
+
+SECTION IX
+
+THE HEAD VOICE                                                      86
+
+
+SECTION X
+
+SENSATION AND POSITION OF THE TONGUE                                99
+
+
+SECTION XI
+
+THE SENSATIONS OF THE PALATE                                       102
+
+
+SECTION XII
+
+THE SENSATION OF THE RESONANCE OF THE HEAD CAVITIES                108
+
+
+SECTION XIII
+
+SINGING COVERED                                                    123
+
+
+SECTION XIV
+
+ON VOCAL REGISTERS                                                 133
+
+
+SECTION XV
+
+DEVELOPMENT AND EQUALIZATION                                       142
+
+
+SECTION XVI
+
+WHITE VOICES                                                       154
+
+
+SECTION XVII
+
+THEODOR WACHTEL                                                    158
+
+
+SECTION XVIII
+
+THE HIGHEST HEAD TONES                                             162
+
+
+SECTION XIX
+
+EXTENSION OF THE COMPASS AND EQUALIZATION OF REGISTERS             169
+
+
+SECTION XX
+
+THE TREMOLO                                                        170
+
+
+SECTION XXI
+
+THE CURE                                                           176
+
+
+SECTION XXII
+
+THE TONGUE                                                         181
+
+
+SECTION XXIII
+
+PREPARATION FOR SINGING                                            189
+
+
+SECTION XXIV
+
+THE POSITION OF THE MOUTH (CONTRACTION OF THE MUSCLES OF SPEECH)   192
+
+
+SECTION XXV
+
+CONNECTION OF VOWELS                                               196
+
+
+SECTION XXVI
+
+THE LIPS                                                           212
+
+
+SECTION XXVII
+
+THE VOWEL SOUND _AH_                                               214
+
+
+SECTION XXVIII
+
+ITALIAN AND GERMAN                                                 219
+
+
+SECTION XXIX
+
+AUXILIARY VOWELS                                                   226
+
+
+SECTION XXX
+
+RESONANT CONSONANTS                                                229
+
+
+SECTION XXXI
+
+PRACTICAL EXERCISES                                                232
+
+
+SECTION XXXII
+
+THE GREAT SCALE                                                    239
+
+
+SECTION XXXIII
+
+VELOCITY                                                           245
+
+
+SECTION XXXIV
+
+TRILL                                                              251
+
+
+SECTION XXXV
+
+HOW TO HOLD ONE'S SELF WHEN PRACTISING                             256
+
+
+SECTION XXXVI
+
+CONCERNING EXPRESSION                                              263
+
+
+SECTION XXXVII
+
+BEFORE THE PUBLIC                                                  265
+
+
+SECTION XXXVIII
+
+INTERPRETATION                                                     270
+
+
+SECTION XXXIX
+
+IN CONCLUSION                                                      279
+
+
+NOTE.--A GOOD REMEDY FOR CATARRH AND HOARSENESS                    281
+
+
+
+
+MY PURPOSE
+
+
+My purpose is to discuss simply, intelligibly, yet from a scientific
+point of view, the sensations known to us in singing, and exactly
+ascertained in my experience, by the expressions "singing open,"
+"covered," "dark," "nasal," "in the head," or "in the neck,"
+"forward," or "back." These expressions correspond to our sensations
+in singing; but they are unintelligible as long as the causes of those
+sensations are unknown, and everybody has a different idea of them.
+Many singers try their whole lives long to produce them and never
+succeed. This happens because science understands too little of
+singing, the singer too little of science. I mean that the
+physiological explanations of the highly complicated processes of
+singing are not plainly enough put for the singer, who has to concern
+himself chiefly with his sensations in singing and guide himself by
+them. Scientific men are not at all agreed as to the exact functions
+of the several organs; the humblest singer knows something about them.
+Every serious artist has a sincere desire to help others reach the
+goal--the goal toward which all singers are striving: to sing well and
+beautifully.
+
+The true art of song has always been possessed and will always be
+possessed by such individuals as are dowered by nature with all that
+is needful for it--that is, healthy vocal organs, uninjured by vicious
+habits of speech; a good ear, a talent for singing, intelligence,
+industry, and energy.
+
+In former times eight years were devoted to the study of singing--at
+the Prague Conservatory, for instance. Most of the mistakes and
+misunderstandings of the pupil could be discovered before he secured
+an engagement, and the teacher could spend so much time in correcting
+them that the pupil learned to pass judgment on himself properly.
+
+But art to-day must be pursued like everything else, by steam. Artists
+are turned out in factories, that is, in so-called conservatories, or
+by teachers who give lessons ten or twelve hours a day. In two years
+they receive a certificate of competence, or at least the diploma of
+the factory. The latter, especially, I consider a crime, that the
+state should prohibit.
+
+All the inflexibility and unskilfulness, mistakes and deficiencies,
+which were formerly disclosed during a long course of study, do not
+appear now, under the factory system, until the student's public
+career has begun. There can be no question of correcting them, for
+there is no time, no teacher, no critic; and the executant has learned
+nothing, absolutely nothing, whereby he could undertake to distinguish
+or correct them.
+
+The incompetence and lack of talent whitewashed over by the factory
+concern lose only too soon their plausible brilliancy. A failure in
+life is generally the sad end of such a factory product; and to
+factory methods the whole art of song is more and more given over as a
+sacrifice.
+
+I cannot stand by and see these things with indifference. My artistic
+conscience urges me to disclose all that I have learned and that has
+become clear to me in the course of my career, for the benefit of art;
+and to give up my "secrets," which seem to be secrets only because
+students so rarely pursue the path of proper study to its end. If
+artists, often such only in name, come to a realization of their
+deficiencies, they lack only too frequently the courage to acknowledge
+them to others. Not until we artists all reach the point when we can
+take counsel with each other about our mistakes and deficiencies, and
+discuss the means for overcoming them, putting our pride in our
+pockets, will bad singing and inartistic effort be checked, and our
+noble art of singing come into its rights again.
+
+
+MY TITLE TO WRITE ON THE ART OF SONG
+
+Rarely are so many desirable and necessary antecedents united as in my
+case.
+
+The child of two singers, my mother being gifted musically quite out
+of the common, and active for many years not only as a dramatic
+singer, but also as a harp virtuoso, I, with my sister Marie, received
+a very careful musical education; and later a notable course of
+instruction in singing from her. From my fifth year on I listened
+daily to singing lessons; from my ninth year I played accompaniments
+on the pianoforte, sang all the missing parts, in French, Italian,
+German, and Bohemian; got thoroughly familiar with all the operas, and
+very soon knew how to tell good singing from bad. Our mother took
+care, too, that we should hear all the visiting notabilities of that
+time in opera as well as in concert; and there were many of them every
+year at the Deutsches Landestheater in Prague.
+
+She herself had found a remarkable singing teacher in the Frankfort
+basso, Föppel; and kept her voice noble, beautiful, young, and strong
+to the end of her life,--that is, till her seventy-seventh
+year,--notwithstanding enormous demands upon it and many a blow of
+fate. She could diagnose a voice infallibly; but required a probation
+of three to four months to test talent and power of making progress.
+
+I have been on the stage since my eighteenth year; that is, for
+thirty-four years. In Prague I took part every day in operas,
+operettas, plays, and farces. Thereafter in Danzig I sang from
+eighteen to twenty times a month in coloratura and soubrette parts;
+also in Leipzig, and later, fifteen years in Berlin. In addition I
+sang in very many oratorios and concerts, and gave lessons now and
+then.
+
+As long as my mother lived she was my severest critic, never
+satisfied. Finally I became such for myself. Now fifteen years more
+have passed, of which I spent eight very exacting ones as a dramatic
+singer in America, afterward fulfilling engagements as a star, in all
+languages, in Germany, Austria, Hungary, France, England, and Sweden.
+My study of singing, nevertheless, was not relaxed. I kept it up more
+and more zealously by myself, learned something from everybody,
+learned to _hear_ myself and others.
+
+For many years I have been devoting myself to the important questions
+relating to singing, and believe that I have finally found what I have
+been seeking. It has been my endeavor to set down as clearly as
+possible all that I have learned through zealous, conscientious study
+by myself and with others, and thereby to offer to my colleagues
+something that will bring order into the chaos of their methods of
+singing; something based on science as well as on sensations in
+singing; something that will bring expressions often misunderstood
+into clear relation with the exact functions of the vocal organs.
+
+In what I have just said I wish to give a sketch of my career only to
+show what my voice has endured, and why, notwithstanding the enormous
+demands I have made upon it, it has lasted so well. One who has sung
+for a short time, and then has lost his voice, and for this reason
+becomes a singing teacher, has never sung consciously; it has simply
+been an accident, and this accident will be repeated, for good or for
+ill, in his pupils.
+
+The talent in which all the requirements of an artist are united is
+very rare. Real talent will get along, even with an inferior teacher,
+in some way or another; while the best teacher cannot produce talent
+where there is none. Such a teacher, however, will not beguile people
+with promises that cannot be kept.
+
+My chief attention I devote to artists, whom I can, perhaps, assist in
+their difficult, but glorious, profession. One is never done with
+learning; and that is especially true of singers. I earnestly hope
+that I may leave them something, in my researches, experiences, and
+studies, that will be of use. I regard it as my duty; and I confide it
+to all who are striving earnestly for improvement.
+
+GRÜNEWALD, Oct. 31, 1900.
+
+
+
+
+SECTION I
+
+PRELIMINARY PRACTICE
+
+
+It is very important for all who wish to become artists to begin their
+work not with practical exercises in singing, but with serious
+practice in tone production, in breathing in and out, in the functions
+of the lungs and palate, in clear pronunciation of all letters, and
+with speech in general.
+
+Then it would soon be easy to recognize talent or the lack of it. Many
+would open their eyes in wonder over the difficulties of learning to
+sing, and the proletariat of singers would gradually disappear. With
+them would go the singing conservatories and the bad teachers who, for
+a living, teach everybody that comes, and promise to make everybody a
+great artist.
+
+Once when I was acting as substitute for a teacher in a conservatory,
+the best pupils of the institution were promised me,--those who needed
+only the finishing touches. But when, after my first lesson, I went to
+the director and complained of the ignorance of the pupils, my mouth
+was closed with these words, "For Heaven's sake, don't say such
+things, or we could never keep our conservatory going!"
+
+I had enough, and went.
+
+The best way is for pupils to learn preparatory books by heart, and
+make drawings. In this way they will get the best idea of the vocal
+organs, and learn their functions by sensation as soon as they begin
+to sing. The pupil should be subjected to strict examinations.
+
+_In what does artistic singing differ from natural singing?_
+
+In a clear understanding of all the organs concerned in voice
+production, and their functions, singly and together; in the
+understanding of the sensations in singing, conscientiously studied
+and scientifically explained; in a gradually cultivated power of
+contracting and relaxing the muscles of the vocal organs, that power
+culminating in the ability to submit them to severe exertions and keep
+them under control. The prescribed tasks must be mastered so that they
+can be done without exertion, with the whole heart and soul, and with
+complete understanding.
+
+How is this to be attained?
+
+Through natural gifts, among which I reckon the possession of sound
+organs and a well-favored body; through study guided by an excellent
+teacher _who can sing well himself_,--study that must be kept up for
+at least six years, without counting the preliminary work.
+
+Only singers formed on such a basis, after years of work, deserve the
+title of artist; only such have a right to look forward to a lasting
+future, and only those equipped with such a knowledge ought to teach.
+
+_Of what consists artistic singing?_
+
+Of a clear understanding, first and foremost, of breathing, in and
+out; of an understanding of the form through which the breath has to
+flow, prepared by a proper position of the larynx, the tongue, and the
+palate. Of a knowledge and understanding of the functions of the
+muscles of the abdomen and diaphragm, which regulate the breath
+pressure; then, of the chest-muscle tension, against which the breath
+is forced, and whence, under the control of the singer, after passing
+through the vocal cords, it beats against the resonating surfaces and
+vibrates in the cavities of the head. Of a highly cultivated skill and
+flexibility in adjusting all the vocal organs and in putting them into
+minutely graduated movements, without inducing changes through the
+pronunciation of words or the execution of musical figures that shall
+be injurious to the tonal beauty or the artistic expression of the
+song. Of an immense muscular power in the breathing apparatus and all
+the vocal organs, the strengthening of which to endure sustained
+exertion cannot be begun too long in advance; and the exercising of
+which, as long as one sings in public, must never be remitted for a
+single day.
+
+As beauty and stability of tone do not depend upon excessive
+_pressure_ of the breath, so the muscular power of the organs used in
+singing does not depend on convulsive rigidity, but in that snakelike
+power of contracting and loosening,[1] which a singer must consciously
+have under perfect control.
+
+[Footnote 1: In physiology when the muscles resume their normal state,
+they are said to be _relaxed_. But as I wish to avoid giving a false
+conception in our vocal sensations, I prefer to use the word
+"loosening."]
+
+The study needed for this occupies an entire lifetime; not only
+because the singer must perfect himself more and more in the rôles of
+his repertory--even after he has been performing them year in and year
+out,--but because he must continually strive for progress, setting
+himself tasks that require greater and greater mastery and strength,
+and thereby demand fresh study.
+
+_He who stands still, goes backward._
+
+Nevertheless, there are fortunately gifted geniuses in whom are
+already united all the qualities needed to attain greatness and
+perfection, and whose circumstances in life are equally fortunate; who
+can reach the goal earlier, without devoting their whole lives to it.
+Thus, for instance, in Adelina Patti everything was united,--the
+splendid voice, paired with great talent for singing, and the long
+oversight of her studies by her distinguished teacher, Strakosch. She
+never sang rôles that did not suit her voice; in her earlier years she
+sang only arias and duets or single solos, never taking part in
+ensembles. She never sang even her limited repertory when she was
+indisposed. She never attended rehearsals, but came to the theatre in
+the evening and sang triumphantly, without ever having seen the
+persons who sang and acted with her. She spared herself rehearsals
+which, on the day of the performance, or the day before, exhaust all
+singers, because of the excitement of all kinds attending them, and
+which contribute neither to the freshness of the voice nor to the joy
+of the profession.
+
+Although she was a Spaniard by birth and an American by early
+adoption, she was, so to speak, the greatest Italian singer of my
+time. All was absolutely good, correct, and flawless, the voice like a
+bell that you seemed to hear long after its singing had ceased.
+
+Yet she could give no explanation of her art, and answered all her
+colleagues' questions concerning it with an "Ah, je n'en sais rien!"
+
+She possessed, unconsciously, as a gift of nature, a union of all
+those qualities that all other singers must attain and possess
+_consciously_. Her vocal organs stood in the most favorable relations
+to each other. Her talent, and her remarkably trained ear, maintained
+control over the beauty of her singing and of her voice. The fortunate
+circumstances of her life preserved her from all injury. The purity
+and flawlessness of her tone, the beautiful equalization of her whole
+voice, constituted the magic by which she held her listeners
+entranced. Moreover, she was beautiful and gracious in appearance.
+
+The accent of great dramatic power she did not possess; yet I ascribe
+this more to her intellectual indolence than to her lack of ability.
+
+
+
+
+SECTION II
+
+OF THE BREATH
+
+
+The breath becomes voice through the operation of the will, and the
+instrumentality of the vocal organs.
+
+To regulate the breath, to prepare a passage of the proper form
+through which it shall flow, circulate, develop itself, and reach the
+necessary resonating chambers, must be our chief task.
+
+Concerning the breath and much more besides there is so much that is
+excellent in Oscar Guttmann's "Gymnastik der Stimme" that I can do no
+better than to refer to it and recommend it strongly to the attention
+of all earnest students.
+
+How do I breathe?
+
+Very short of breath by nature, my mother had to keep me as a little
+child almost sitting upright in bed. After I had outgrown that and as
+a big girl could run around and play well enough, I still had much
+trouble with shortness of breath in the beginning of my singing
+lessons. For years I practised breathing exercises every day without
+singing, and still do so with especial pleasure, now that everything
+that relates to the breath and the voice has become clear to me. Soon
+I had got so far that I could hold a swelling and diminishing tone
+from fifteen to eighteen seconds.
+
+I had learned this: to draw in the abdomen and diaphragm, raise the
+chest and hold the breath in it by the aid of the ribs; in letting out
+the breath _gradually_ to relax the body and to let the chest fall
+slowly. To do everything _thoroughly_ I doubtless exaggerated it all.
+But since for twenty-five years I have breathed in this way almost
+exclusively, with the utmost care, I have naturally attained great
+dexterity in it; and my abdominal and chest muscles and my diaphragm,
+have been strengthened to a remarkable degree. Yet I was not
+satisfied.
+
+A horn player in Berlin with the power of holding a very long breath,
+once told me in answer to a question, that he drew in his abdomen and
+diaphragm very strongly, but immediately relaxed his abdomen again as
+soon as he began to play. I tried the same thing with the _best
+results_. Quite different, and very naïve, was the answer I once got
+from three German orchestral horn players in America. They looked at
+me in entire bewilderment, and appeared not to understand in the least
+my questions as to how they breathed. Two of them declared that the
+best way was not to think about it at all. But when I asked if their
+teachers had never told them how they should breathe, the third
+answered, after some reflection, "Oh, yes!" and pointed in a general
+way to his stomach. The first two were right, in so far as too violent
+inhalation of breath is really undesirable, because thereby _too much_
+air is drawn in. But such ignorance of the subject is disheartening,
+and speaks ill for the conservatories in which the players were
+trained, whose performances naturally are likely to give art a black
+eye.
+
+Undoubtedly I took in too much air in breathing, and thereby stiffened
+various organs, depriving my muscles of their elasticity. Yet, with
+all my care and preparation, I often, when I had not given special
+thought to it, had too little breath, rather than too much. I felt,
+too, after excessive inhalation, as if I must emit a certain amount of
+air before I began to sing. Finally I abandoned all superfluous
+drawing in of the abdomen and diaphragm, inhaled but little, and began
+to pay special attention to emitting the smallest possible amount of
+breath, which I found very serviceable.
+
+How do I breathe now?
+
+My diaphragm I scarcely draw in consciously, my abdomen never; I feel
+the breath fill my lungs, and my upper ribs expand. Without raising
+my chest especially high, I force the breath against it, and hold it
+fast there. At the same time I raise my palate high and prevent the
+escape of breath through the nose. The diaphragm beneath reacts
+against it, and furnishes pressure from the abdomen. Chest, diaphragm,
+the closed epiglottis, and the raised palate all form a supply chamber
+for the breath.
+
+Only in this way is the breath under the control of the singer,
+through the pressure against the chest tension muscles. (_This is very
+important._) From now on the breath must be emitted from the supply
+chamber very sparingly, but with unceasing uniformity and strength,
+without once being held back, to the vocal cords, which will further
+regulate it as far as possible. The more directly the breath pressure
+is exerted against the chest,--one has the feeling, in this, of
+singing the tone against the chest whence it must be _pressed_
+out,--the less breath flows through the vocal cords, and the less,
+consequently, are these overburdened.
+
+In this way, under control, in the passage formed for it above the
+tongue by that organ, it reaches the resonance chambers prepared for
+it by the raising and lowering of the soft palate, and those in the
+cavities of the head. Here it forms whirling currents of tone; these
+now must circulate uninterrupted for as long as possible and fill all
+the accessible resonating surfaces, which must be maintained in an
+elastic state. This is necessary to bring the tone to its perfect
+purity. Not till these currents have been sufficiently used up and
+passed through the "bell," or cup-shaped resonating cavity, of the
+mouth and lips, may it be allowed to stream from the mouth unimpeded.
+Yet the _sensation_ must be as if the breath were constantly escaping
+from the mouth.
+
+To observe and keep under control these many functions, singly or in
+conjunction, forms the ceaseless delight of the never failing fountain
+of song study.
+
+Thus, in shaping the passage for the breath, the larynx, tongue, and
+palate, which can be placed at will, are employed. The vocal cords,
+which can best be imagined as inner lips, we have under control
+neither as beginners nor as artists. _We do not feel them._ We first
+become conscious of them through the controlling apparatus of the
+breath, which teaches us to _spare_ them, by emitting breath through
+them in the least possible quantity and of even pressure, whereby a
+steady tone can be produced. I even maintain that all is won, when--as
+Victor Maurel says--we regard them directly as the breath regulators,
+and relieve them of all overwork through the controlling apparatus of
+the chest-muscle tension.
+
+Through the form prepared by the larynx, tongue, and palate, we can
+direct the breath, previously under control and regulation, toward the
+particular resonating surfaces on the palate, or in the cavities of
+the head, which are suitable to each tone. This rule remains the same
+for all voices.
+
+As soon as the breath leaves the larynx, it is divided. (Previously,
+in inhalation, a similar thing happens; but this does not concern us
+immediately, and I prefer to direct the singer's chief attention to
+the second occurrence.) One part may press toward the palate, the
+other toward the cavities of the head. The division of the breath
+occurs regularly, from the deepest bass to the highest tenor or
+soprano, step for step, vibration for vibration, without regard to sex
+or individuality. Only the differing size or strength of the vocal
+organs through which the breath flows, the breathing apparatus, or the
+skill with which they are used, are different in different
+individuals. The seat of the breath, the law of its division, as well
+as the resonating surfaces, are always the same and are differentiated
+at most through difference of habit.
+
+
+
+
+SECTION III
+
+OF THE BREATH AND WHIRLING CURRENTS
+
+(SINGING FORWARD)
+
+
+The veriest beginner knows that in order to use the breath to the
+fullest advantage, it must remain very long diffused back in the
+mouth. A mistaken idea of "singing forward" misleads most to _press_
+it forward and thus allow it to be speedily dissipated.
+
+The column of breath coming in an uninterrupted stream from the
+larynx, must, as soon as it flows into the form prepared for it
+according to the required tone, by the tongue and palate, fill this
+form, soaring through all its corners, with its vibrations. It makes
+whirling currents, which circulate in the elastic form surrounding it,
+and it must remain there till the tone is high enough, strong enough,
+and sustained enough to satisfy the judgment of the singer as well as
+the ear of the listener. Should there be lacking the least element of
+pitch, strength, or duration, the tone is imperfect and does not meet
+the requirement.
+
+Learning and teaching to hear is the first task of both pupil and
+teacher. One is impossible without the other. It is the most difficult
+as well as the most grateful task, and it is the only way to reach
+perfection.
+
+Even if the pupil unconsciously should produce a flawless tone, it is
+the teacher's duty to acquaint him clearly with the _causes_ of it. It
+is not enough to sing well; one must also know how one does it. The
+teacher must tell the pupil constantly, making him describe clearly
+his sensations in singing, and understand fully the physiological
+factors that coöperate to produce them.
+
+The sensations in singing must coincide with mine as here described,
+if they are to be considered as correct; for mine are based logically
+on physiological causes and correspond precisely with the operation of
+these causes. Moreover, all my pupils tell me--often, to be sure, not
+till many months have passed--how exact my explanations are; how
+accurately, on the strength of them, they have learned to feel the
+physiological processes. They have learned, slowly, to be sure, to
+become conscious of their errors and false impressions; for it is very
+difficult to ascertain such mistakes and false adjustments of the
+organs. False sensations in singing and disregarded or false ideas of
+physiological processes cannot immediately be stamped out. A long time
+is needed for the mind to be able to form a clear image of those
+processes, and not till then can knowledge and improvement be
+expected. The teacher must repeatedly explain the physiological
+processes, the pupil repeatedly disclose every confusion and
+uncertainty he feels, until the perfect consciousness of his
+sensations in singing is irrevocably impressed upon his memory, that
+is, has become a habit.
+
+Among a hundred singers hardly one can be found whose single tones
+meet every requirement. And among a thousand listeners, even among
+teachers, and among artists, hardly one hears it.
+
+I admit that such perfect tones sometimes, generally quite
+unconsciously, are heard from young singers, and especially from
+beginners, and never fail to make an impression. The teacher hears
+that they are good, so does the public. Only a very few know why, even
+among singers, because only a very few know the laws governing perfect
+tone production. Their talent, their ear perchance, tell them the
+truth; but the causes they neither know nor look for.
+
+On such "unconscious singing" directors, managers, and even
+conductors, build mistakenly their greatest hopes. No one hears what
+is lacking, or what will soon be lacking, and all are surprised when
+experienced singers protest against it.
+
+They become enthusiastic, properly, over beautiful voices, but pursue
+quite the wrong path in training them for greater tasks. As soon as
+such persons are obtained, they are immediately bundled into _all_
+rôles; they have hardly time to learn one rôle by heart, to say
+nothing of comprehending it and working it up artistically. The stars
+must shine _immediately_! But with what resources? With the fresh
+voice alone? Who is there to teach them to use their resources on the
+stage? Who to husband them for the future? The manager? the director?
+Not at all. When the day comes that they can no longer perform what,
+not they themselves, but the directors, expected of them, they are put
+to one side, and if they do not possess great energy and strength,
+often entirely succumb. They could not meet the demands made upon
+them, because they did not know how to use their resources.
+
+I shall be told that tones well sung, even unconsciously, are enough.
+But that is not true. The least unfavorable circumstance,
+over-exertion, indisposition, an unaccustomed situation, anything can
+blow out the "unconscious" one's light, or at least make it flicker
+badly. Of any self-help, when there is ignorance of all the
+fundamentals, there can be no question. Any help is grasped at. Then
+appears the so-called (but false) "individuality," under whose mask so
+much that is bad presents itself to art and before the public.
+
+This is not remarkable, in view of the complexity of the phenomena of
+song. Few teachers concern themselves with the fundamental studies;
+they often do not sing at all themselves, or they sing quite wrongly;
+and consequently can neither describe the vocal sensations nor test
+them in others. Theory alone is of no value whatever. With old singers
+the case is often quite the contrary--so both seize whatever help they
+can lay hold of. The breath, that vibrates against the soft palate,
+when it is raised, or behind it in the cavities of the head, produces
+whirling currents through its continuous streaming forth and its
+twofold division. These currents can circulate only in unbroken
+completeness of form. The longer their form remains unimpaired, and
+the more economically the continuous breath pressure is maintained,
+the less breath do these currents need, the less is emitted unused
+from the mouth.
+
+If an elastic form is found in the mouth in which the currents can
+circulate untouched by any pressure or undue contraction or expansion
+of it, the breath becomes practically unlimited. That is the simple
+solution of the paradox that without deep breathing one may often have
+much breath, and, after elaborate preparations, often none at all;
+because the chief attention is generally directed to inhalation,
+instead of to the elastic forming of the organs for the breath, sound
+currents, and tone. The one thing needed is the knowledge of the
+causes, and the necessary skill in preparing the form, avoiding all
+pressure that could injure it, whether originating in the larynx,
+tongue, or palate, or in the organs that furnish the breath pressure.
+
+The singer's endeavors, consequently, must be directed to keeping the
+breath as long as possible sounding and vibrating not only forward but
+back in the mouth, since the resonance of the tone is spread upon and
+above the entire palate, extends from the front teeth to the wall of
+the throat. He must concern himself with preparing for the vibrations,
+pliantly and with mobility, a powerful, elastic, almost floating
+envelope, which must be filled entirely, with the help of a continuous
+vocal mixture,--a mixture of which the components are indistinguishable.
+
+
+
+
+SECTION IV
+
+THE SINGER'S PHYSIOLOGICAL STUDIES
+
+
+Science has explained all the processes of the vocal organs in their
+chief functions, and many methods of singing have been based upon
+physiology, physics, and phonetics. To a certain extent scientific
+explanations are absolutely necessary for the singer--as long as they
+are confined to the sensations in singing, foster understanding of the
+phenomenon, and summon up an intelligible picture. This is what
+uninterpreted sensations in singing cannot do; of which fact the
+clearest demonstration is given by the expressions, "bright," "dark,"
+"nasal," "singing forward," etc., that I began by mentioning and that
+are almost always falsely understood. They are quite meaningless
+without the practical teachings of the sensations of such singers as
+have directed their attention to them with a knowledge of the end in
+view, and are competent to correlate them with the facts of science.
+
+The singer is usually worried by the word "physiology"; but only
+because he does not clearly understand the limits of its teachings.
+The singer need, will, and must, know a little of it. We learn so much
+that is useless in this life, why not learn that which is of the
+utmost service to us? What, in brief, does it mean? Perfect
+consciousness in moving the vocal organs, and through the aid of the
+ear, in placing them at will in certain relations with each other; the
+fact that the soft palate can be drawn up against the hard palate;
+that the tongue is able to take many different positions, and that the
+larynx, by the assistance of the vocal sound oo, takes a low position,
+and by that of the vowel [=a] a high one; that all muscles contract in
+activity and in normal inactivity are relaxed; that we must strengthen
+them by continued vocal gymnastics so that they may be able to
+sustain long-continued exertion; and must keep them elastic and use
+them so. It includes also the well-controlled activity of diaphragm,
+chest, neck, and face muscles. This is all that physiology means for
+the vocal organs. Since these things all operate together, one without
+the others can accomplish nothing; if the least is lacking, singing is
+quite impossible, or is entirely bad.
+
+[Illustration: Cavity of the forehead, high range.
+
+Nasal cavity, middle range.
+
+Palatal resonance, low range.
+
+Soft palate laid back against the wall of the throat in low tones,
+lowered in high tones.
+
+Red lines denote the resonance.]
+
+Physiology is concerned also with muscles, nerves, sinews, ligaments,
+and cartilage, all of which are used in singing, but all of which we
+cannot feel. We cannot even feel the vocal cords. Certainly much
+depends for the singer upon their proper condition; and whether as
+voice producers or breath regulators, we all have good reason always
+to spare them as much as possible, and never to overburden them.
+
+Though we cannot feel the vocal cords, we can, nevertheless, hear, by
+observing whether the tone is even,--in the emission of the breath
+under control,--whether they are performing their functions properly.
+Overburdening them through pressure, or emitting of the breath without
+control, results in weakening them. The irritation of severe coughing,
+thoughtless talking or shouting immediately after singing may also set
+up serious congestion of the vocal cords, which can be remedied only
+through slow gymnastics of the tongue and laryngeal muscles, by the
+pronunciation of vowels in conjunction with consonants. Inactivity of
+the vocal organs will not cure it, or perhaps not till after the lapse
+of years.
+
+A good singer can _never_ lose his voice. Mental agitation or severe
+colds can for a time deprive the singer of the use of his vocal
+organs, or seriously impair them. Only those who have been singing
+without consciously correct use of their organs can become
+disheartened over it; those who know better will, with more or less
+difficulty, cure themselves, and by the use of vocal gymnastics bring
+their vocal organs into condition again.
+
+For this reason, if for no other, singers should seek to acquire
+accurate knowledge of their own organs, as well as of their functions,
+that they may not let themselves be burnt, cut, and cauterized by
+unscrupulous physicians. Leave the larynx and all connected with it
+alone; strengthen the organs by daily vocal gymnastics and a healthy,
+_sober_ mode of life; beware of catching cold after singing; do not
+sit and talk in restaurants.
+
+Students of singing should use the early morning hours, and fill their
+days with the various branches of their study. Sing every day only so
+much, that on the next day you can practise again, feeling fresh and
+ready for work, as _regular_ study requires. Better one hour every day
+than ten to-day and none tomorrow.
+
+The public singer should also do his practising early in the day, that
+he may have himself well in hand by evening. How often one feels
+indisposed in the morning! Any physical reason is sufficient to make
+singing difficult, or even impossible; it need not be connected
+necessarily with the vocal organs; in fact, I believe it very rarely
+is. For this reason, in two hours everything may have changed.
+
+I remember a charming incident in New York. Albert Niemann, our heroic
+tenor, who was to sing _Lohengrin_ in the evening, complained to me in
+the morning of severe hoarseness. To give up a rôle in America costs
+the singer, as well as the director, much money. My advice was to
+wait.
+
+_Niemann._ What do you do, then, when you are hoarse?
+
+_I._ Oh, I practise and see whether it still troubles me.
+
+_Niem._ Indeed; and what do you practise?
+
+_I._ Long, slow scales.
+
+_Niem._ Even if you are hoarse?
+
+_I._ Yes; if I want to sing, or have to, I try it.
+
+_Niem._ Well, what are they? Show me.
+
+_The great scale, the infallible cure._
+
+I showed them to him; he sang them, with words of abuse in the
+meantime; but gradually his hoarseness grew better. He did not send
+word of his inability to appear in the evening, but sang, and better
+than ever, with enormous success.
+
+I myself had to sing _Norma_ in Vienna some years ago, and got up in
+the morning quite hoarse. By nine o'clock I tried my infallible
+remedy, but could not sing above A flat, though in the evening I
+should have to reach high D flat and E flat. I was on the point of
+giving up, because the case seemed to me so desperate. Nevertheless, I
+practised till eleven o'clock, half an hour at a time, and noticed
+that I was gradually getting better. In the evening I had my D flat
+and E flat at my command and was in brilliant form. People said they
+had seldom heard me sing so well.
+
+I could give numberless instances, all going to show that you never
+can tell early in the day how you are going to feel in the evening. I
+much prefer, for instance, not to feel so very well early in the day,
+because it may easily happen that the opposite may be the case later
+on, which is much less agreeable. If you wish to sing only when you
+are in good form, you must excuse yourself ninety-nine times out of a
+hundred. You must learn to know your own vocal organs thoroughly and
+be able to sing; must do everything that is calculated to keep you in
+good condition. This includes chiefly rest for the nerves, care of the
+body, and gymnastics of the voice, that you may be able to defy all
+possible chances.
+
+Before all, never neglect to practise every morning, regularly, proper
+singing exercises through the whole compass of the voice. Do it with
+_painful_ seriousness; and never think that vocal gymnastics weary the
+singer. On the contrary, they bring refreshment and power of endurance
+to him who will become master of his vocal organs.
+
+
+
+
+SECTION V
+
+EQUALIZING THE VOICE; BREATH; FORM
+
+
+Through the lowering of the pillars of the fauces, which is the same
+as raising the soft palate, the outflowing breath is divided into two
+parts.
+
+I have sketched the following representation of it:--
+
+Division of the breath.
+
+By raising the pillars of the fauces, which closes off the throat from
+the cavities of the head, the chest voice is produced; that is, the
+lowest range of all kinds of voices. This occurs when the main stream
+of breath, spreading over against the high-arched palate, completely
+utilizes all its resonating surfaces. This is the palatal resonance,
+in which there is the most power (Plate A).
+
+[Illustration: A
+
+Red lines denote division of the breath in palatal resonance, lower
+range of male and female voices.]
+
+When the soft palate is raised high behind the nose, the pillars of
+the fauces are lowered, and this frees the way for the main stream of
+breath to the head cavities. This now is poured out, filling the nose,
+forehead, and head cavities. This makes the head tone. Called head
+tone in women, falsetto in men, it is the highest range of all classes
+of voices, the resonance of the head cavities (Plate C).
+
+[Illustration: C
+
+Resonance of the cavity of the forehead.
+
+Red lines denote division of the breath in the resonance of the head
+cavity, high range.]
+
+Between these two extreme functions of the palate and breath, one
+stream of breath gives some of its force to the other; and when
+equally divided they form the medium range of all classes of voices
+(Plate B).
+
+[Illustration: B
+
+Red lines denote division of the breath in the middle range.]
+
+The singer must always have in his mind's eye a picture of this
+divided stream of breath.
+
+As I have already said, in the lowest tones of all voices the main
+stream of breath is projected against the palate; the pillars of the
+fauces, being stretched to their fullest extent, and drawn back to the
+wall of the throat, allow _almost_ no breath to reach the head
+cavities.
+
+I say _almost_ none, for, as a matter of fact, a branch stream of
+breath, however small, must be forced back, behind and above the
+pillars, first into the nose, later into the forehead and the cavities
+of the head. This forms the overtones (head tones) which must vibrate
+with all tones, even the lowest. These overtones lead over from the
+purest chest tones, slowly, with a constantly changing mixture of both
+kinds of resonance, first to the high tones of bass and baritone, the
+low tones of tenor, the middle tones of alto and soprano, finally, to
+the purest head tones, the highest tones of the tenor-falsetto or
+soprano. (See the plates.)
+
+The extremely delicate gradation of the scale of increase of the
+resonance of the head cavities in ascending passages, and of increase
+of palatal resonance in descending, depends upon the skill to make the
+palate act elastically, and to let the breath, under control of the
+abdominal and chest pressure, flow uninterruptedly in a gentle stream
+into the resonating chambers. Through the previous preparation of the
+larynx and tongue, it must reach its resonating surfaces as though
+passing through a cylinder, and must circulate in the form previously
+prepared for it, proper for each tone and vowel sound. This form
+surrounds it gently but firmly. The supply of air remains continuously
+the same, _rather increasing than diminishing_, notwithstanding the
+fact that the quantity which the abdominal pressure has furnished the
+vocal cords from the supply chamber is a very small one. That it may
+not hinder further progression, the form must remain elastic and
+sensitive to the most delicate modification of the vowel sound. If the
+tone is to have life, it must always be able to conform to any vowel
+sound. The least displacement of the form or interruption of the
+breath breaks up the whirling currents and vibrations, and
+consequently affects the tone, its vibrancy, its strength, and its
+duration.
+
+In singing a continuous passage upward, the form becomes higher and
+more pliant; the most pliable place on the palate is drawn upward.
+(See Plate A.)
+
+When I sing a single tone I can give it much more power, much more
+palatal or nasal resonance, than I could give in a series of ascending
+tones. In a musical figure I must attack the lowest note in such a way
+that I can easily reach the highest. I must, therefore, give it much
+more head tone than the single tone requires. (Very important.) When
+advancing farther, I have the feeling on the palate, above and behind
+the nose, toward the cavities of the head, of a strong but very
+elastic rubber ball, which I fill like a balloon with my breath
+streaming up far back of it. And this filling keeps on in even
+measure. That is, the branch stream of the breath, which flows into
+the head cavities, must be free to flow very strongly without
+hindrance. (See Plate B.)
+
+I can increase the size of this ball above, to a pear shape, as soon
+as I think of singing higher; and, indeed, I heighten the form
+_before_ I go on from the tone just sung, making it, so to speak,
+_higher_ in that way, and thus keep the form, that is, the
+"propagation form," ready for the next higher tone, which I can now
+reach easily, as long as no interruption in the stream of breath
+against the mucous membrane can take place. For this reason the breath
+must _never be held back_, but must always be emitted in a more and
+more powerful stream. The higher the tone, the more numerous are the
+vibrations, the more rapidly the whirling currents circulate, and the
+more unchangeable must the form be.
+
+Catarrh often dries up the mucous membrane; then the tones are
+inclined to break off. At such times one must sing with peculiar
+circumspection, and with an especially powerful stream of breath
+behind the tone: it is better to take breath frequently. In a
+descending scale or figure I must, on the contrary, preserve very
+carefully the form taken for the highest tone. I must not go higher,
+nor yet, under any circumstances, lower, but must imagine that I
+remain at the same pitch, and must suggest to myself that I am
+striking the same tone again. The form may gradually be a little
+modified at the upper end: that is, the soft palate is lowered very
+carefully behind the nose: keeping almost always to the form employed
+for the highest tone, sing the figure to its end, toward the nose,
+with the help of the vowel _oo_. (This auxiliary vowel _oo_ means
+nothing more than that the larynx is slowly lowered in position.)
+
+When this happens, the resonance of the head cavities is diminished,
+that of the palate increased; for the soft palate sinks, and the
+pillars of the fauces are raised more and more. Yet the head tone must
+not be entirely free from palatal resonance. Both remain to the last
+breath united, mutually supporting each other in ascending and
+descending passages, and alternately but inaudibly increasing and
+diminishing.
+
+These things go to make up the form:--
+
+The raising and lowering of the soft palate, and the corresponding
+lowering and raising of the pillars of the fauces.
+
+The proper position of the tongue: the tip rests on the lower front
+teeth--mine even as low as the roots of the teeth.
+
+The back of the tongue must stand high and free from the throat, ready
+for any movement. A furrow must be formed in the tongue, which is
+least prominent in the lowest tones, and in direct head tones may even
+completely disappear. As soon as the tone demands the palatal
+resonance, the furrow must be made prominent and kept so. In my case
+it can always be seen. This is one of the most important matters, upon
+which too much emphasis can hardly be laid. As soon as the furrow in
+the tongue shows itself, the tone must sound right; for then the mass
+of the tongue is kept away from the throat, and, since its sides are
+raised, it is kept out of the way of the tone.
+
+[Illustration: Side of the tongue kept high.
+
+Furrow.]
+
+[Illustration: Red line denotes:
+
+Sensation in raising the soft palate for high notes.
+
+Sensation of the form in rapid upward passages.
+
+Division of the breath favors the resonance of head cavities.]
+
+It lies flattest in the lowest tones because the larynx then is in
+a very low position, and thus is out of its way.
+
+[Illustration: Red line denotes sensation of the form in slow
+progression of tones.]
+
+[Illustration: Red line denotes sensation for the propagation form.]
+
+Furthermore, there is the unconstrained position of the larynx, which
+must be maintained without pressure of the throat muscles. From it the
+breath must stream forth evenly and uninterruptedly, to fill the form
+prepared for it by the tongue and palate and supported by the throat
+muscles.
+
+This support must not, however, depend in the least upon
+_pressure_,--for the vibrating breath must float above,--but upon the
+greatest elasticity. One must play with the muscles, and be able to
+contract and relax them at pleasure, having thus perfect mastery over
+them. For this incessant practice is required, increasing control of
+the breath through the sense of hearing and the breath pressure.
+
+At first a very strong will power is needed to hold the muscles tense
+without pressure; that is, to let the tone, as it were, soar through
+the throat, mouth, or cavities of the head.
+
+The stronger the improper pressure in the production of the tone, the
+more difficult it is to get rid of. The result is simply, in other
+words, a strain. The contraction of the muscles must go only so far
+that they can be slowly relaxed; that is, can return to their normal
+position _easily_. Never must the neck be swelled up, or the veins in
+it stand out. Every convulsive or painful feeling is wrong.
+
+
+
+
+SECTION VI
+
+THE ATTACK
+
+
+To attack a tone, the breath must be directed to a focal point on the
+palate, which lies under the critical point for each different tone;
+this must be done with a certain decisiveness. There must, however, be
+no pressure on this place; for the overtones must be able to soar
+above, and sound with, the tone. The palate has to furnish, besides,
+the top cover against which the breath strikes, also an extremely
+elastic floor for the breath sounding above it against the hard palate
+or in the nose.
+
+This breath, by forming the overtones, makes certain the connection
+with the resonance of the head cavities.
+
+In order to bring out the color of the tone the whirling currents must
+vivify all the vowel sounds that enter into it, and draw them into
+their circles with an ever-increasing, soaring tide of sound.
+
+The duration of the tone must be assured by the gentle but
+uninterrupted outpouring of the breath behind it. Its strength must be
+gained by the breath pressure and the focal point on the palate, by
+the complete utilization of the palatal resonance; without, however,
+injuring the resonance of the head cavities. (See plate, representing
+the attack.)
+
+[Illustration: Sensation of pitch.
+
+Red line denotes sensation in the attack.]
+
+
+
+
+SECTION VII
+
+NASAL. NASAL SINGING
+
+
+By raising the back of the tongue toward the soft palate and lowering
+the soft palate toward the tongue, we produce nasal sound, such as is
+heard in the pronunciation of the word "hanger," for instance. The air
+is then expelled chiefly through the nose. The nasal sound can be much
+exaggerated--something that very rarely happens; it can be much
+neglected--something that very often happens. Certain it is that it is
+not nearly enough availed of. That is my own everyday experience.
+
+We Germans have only small opportunity to make the acquaintance of the
+nasal sound; we know it in only a few words: "E_ng_el," "la_ng_e,"
+"ma_ng_el," etc.,--always where _ng_ occurs before or after a vowel.
+
+The French, on the contrary, always sing and speak nasally, with the
+pillar of the fauces raised high, and not seldom exaggerate it. On
+account of the rounding up of the whole soft palate, which, through
+the power of habit, is cultivated especially by the French to an
+extraordinary degree, and which affords the breath an enormous space
+as a resonating surface to act upon, their voices often sound
+tremendous. The tenor Silva is a good example of this. Such voices
+have only the one drawback of easily becoming monotonous. At first
+the power of the organ astonishes us; the next time we are
+disappointed--the tone color remains always the same. The tone often
+even degenerates into a hollow quality.
+
+[Illustration: Red lines denote movement of the tongue and palate for
+the nasal tone.]
+
+On the other hand, voices that are not sufficiently nasal sound clear
+and expressionless. Madame Melba, for instance, whose voice is
+cultivated to favor the head tones, and sounds equally well in all its
+ranges, apparently lowers the pillars of the fauces too much, and
+has her chief resonance in the head cavities; she cannot draw upon the
+palatal resonance for single accents of expression. Consequently she
+loses in vocal color. This procedure, as soon as it becomes a habit,
+results in monotony.
+
+In the first case somewhat less, in the second somewhat more, nasal
+resonance would help to a greater variety of effect.
+
+There are singers, too, who pursue the middle path with consummate
+art. Thus Madame Sembrich, in recent years, appears to have devoted
+very special study to nasal tones, whereby her voice, especially in
+the middle register, has gained greatly in warmth.
+
+To fix the pupil's attention on the nasal tone and the elasticity of
+the palate, he should often be given exercises with French words.
+
+
+
+
+SECTION VIII
+
+SINGING TOWARD THE NOSE. HEAD VOICE
+
+
+When the peak of the softest part of the palate is placed forward
+toward the nose, instead of being drawn up high behind the nose, as in
+the head voice (see plate, head voice and nasal tone), it forms a kind
+of nasal production which, as I have already said, cannot be studied
+enough, because it produces very noble tonal effects and extraordinary
+connections. It ought always to be employed. By it is effected the
+connection of tones with each other, from the front teeth back to a
+point under the nose; from the lower middle tones to the head tones.
+In truth, all the benefit of tonal connection depends upon this
+portion of the soft palate; that is, upon its conscious employment.
+
+This is all that singers mean when they speak of "nasal
+singing"--really only singing toward the nose. The soft palate placed
+toward the nose offers a resonating surface for the tone.
+
+The reason why teachers tell their pupils so little of this is that
+many singers are quite ignorant of what nasal singing means, and are
+tormented by the idea of "singing toward the nose," when by chance
+they hear something about it. They generally regard the voice as one
+complete organ acting by itself, which is once for all what it is.
+What can be made of it through knowledge of the functions of all the
+coöperating organs they know nothing of.
+
+Blind voices are often caused by the exaggerated practice of closing
+off the throat too tightly from the head cavities; that is, drawing
+the pillars of the fauces too far toward the wall of the throat. The
+large resonating chamber thus formed yields tones that are powerful
+close at hand, but they do not carry, because they are poor in
+overtones. The mistake consists in the practice of stretching the
+pillars too widely in the higher vocal ranges, also. In proportion as
+the pillars are extended, the breath spreads over the entire palate,
+instead of being concentrated on only one point of it, and bringing at
+the same time the resonance of the head cavities into play. The soft
+palate must first be drawn up to, then behind, the nose, and the
+attack of the higher tones be transferred thither. The pillars of the
+fauces must necessarily be relaxed by this action of the soft palate.
+Thereby breath is introduced into the cavities of the head to form the
+overtones, which contribute brilliancy and freshness to the voice.
+
+Many singers persist in the bad habit here described, as long as
+nature can endure it; in the course of time, however, even with the
+most powerful physiques, they will begin to sing noticeably flat; with
+less powerful, the fatal tremolo will make its appearance, which
+results in the ruin of so many singers.
+
+[Illustration: Red lines denote vocal sensations of soprano and tenor
+singers.]
+
+[Illustration: The singer's nasal tone.
+
+Red line denotes:
+
+The soft palate raised high in the back, for further progression with
+the head tone.
+
+Vocal sensation.
+
+Red line denotes:
+
+Soft palate drawn toward the nose, for a descending progression.
+
+Vocal sensation.]
+
+
+
+
+SECTION IX
+
+THE HEAD VOICE
+
+
+The head tone signifies, for all voices, from the deepest bass to the
+highest soprano,--excepting for the fact that it furnishes the
+overtones for each single tone of the whole vocal gamut,--youth. A
+voice without vibrancy is an _old_ voice. The magic of youth,
+freshness, is given by the overtones that sound with every tone.
+
+So to utilize the head voice (resonance of the head cavities) that
+every tone shall be able to "carry" and shall remain high enough to
+reach higher tones easily, is a difficult art, without which, however,
+the singer cannot reckon upon the durability of his voice. Often
+employed unconsciously, it is lost through heedlessness, mistaken
+method, or ignorance; and it can hardly ever be regained, or, if at
+all, only through the greatest sacrifice of time, trouble, and
+patience.
+
+The _pure_ head voice (the third register) is, on account of the
+thinness that it has by nature, the neglected step-child of almost all
+singers, male and female; its step-parents, in the worst significance
+of the word, are most singing teachers, male and female. It is
+produced by the complete lowering of the pillars of the fauces, while
+the softest point of the palate--behind the nose--is thrown up very
+high, seemingly, almost into the head; in the highest position, as it
+were, above the head.
+
+The rear of the tongue stands high, but is formed into a furrow, in
+order that the mass of the tongue may not be in the way, either in the
+throat or in the mouth. In the very highest falsetto and head tones
+the furrow is pretty well filled out, and then no more breath at all
+reaches the palatal resonance.
+
+The larynx stands high--mine leans over to one side. (See plates of
+larynx.)
+
+[Illustration:
+
+A
+
+Normal position of the larynx.
+
+B
+
+The position of my larynx in the high range.]
+
+The vocal cords, which we cannot feel, now approach very near each
+other. The pupil should not read about them until he has learned to
+hear correctly. I do not intend to write a physiological work, but
+simply to attempt to examine certain infallible vocal sensations of
+the singer; point out ways to cure evils, and show how to gain a
+correct understanding of that which we lack.
+
+Up to a certain pitch, with tenors as well as with sopranos, the head
+tones should be mixed with palatal resonance. With tenors this will be
+a matter of course, though with them the chest tones are much abused;
+with sopranos, however, a judicious mixture may be recommended because
+more expression is required (since the influence of Wagner has become
+paramount in interpreting the meaning of a composition, especially of
+the words) than in the brilliant fireworks of former times. The head
+voice, too, must not be regarded as a definite register of its own,
+which is generally produced in the middle range through too long a
+persistence in the use of the palatal and nasal resonance. If it is
+suddenly heard alone, after forcing tones that have preceded it, which
+is not possible under other circumstances, it is of course noticeably
+thin, and stands out to its disadvantage--like every other sharply
+defined register--from the middle tones. In the formation of the voice
+no "register" should exist or be created; the voice must be made even
+throughout its entire range. I do not mean by this that I should sing
+neither with chest tones nor with head tones. On the contrary, the
+practised artist should have at his command all manner of different
+means of expression, that he may be able to use his single tones,
+according to the expression required, with widely diverse qualities of
+resonance. This, too, must be cared for in his studies. But these
+studies, because they must fit each individual case, according to the
+genius or talent of the individual, can be imparted and directed only
+by a good teacher.
+
+The head voice, when its value is properly appreciated, is the most
+valuable possession of all singers, male and female. It should not be
+treated as a Cinderella, or as a last resort,--as is often done too
+late, and so without results, because too much time is needed to
+regain it, when once lost,--but should be cherished and cultivated as
+a guardian angel and guide, like no other. Without its aid all voices
+lack brilliancy and carrying power; they are like a head without a
+brain. Only by constantly summoning it to the aid of all other
+registers is the singer able to keep his voice fresh and youthful.
+Only by a careful application of it do we gain that power of endurance
+which enables us to meet the most fatiguing demands. By it alone can
+we effect a complete equalization of the whole compass of all voices,
+and extend that compass.
+
+This is the great secret of those singers who keep their voices young
+till they reach an advanced age. Without it all voices of which great
+exertions are demanded infallibly meet disaster. Therefore, the motto
+must be always, practice, and again, practice, to keep one's powers
+uninjured; practice brings freshness to the voice, strengthens the
+muscles, and is, for the singer, far more interesting than any musical
+composition.
+
+If in my explanations I frequently repeat myself, it is done not
+unintentionally, but deliberately, because of the difficulty of the
+subject, as well as of the superficiality and negligence of so many
+singers who, after once hastily glancing through such a treatise,--if
+they consider it worth their while at all to inform themselves on the
+subject,--think they have done enough with it.
+
+One must read continually, study constantly by one's self, to gain
+even a faint idea of the difficulty of the art of singing, of managing
+the voice, and even of one's own organs and mistakes, which are one's
+second self. The phenomenon of the voice is an elaborate complication
+of manifold functions which are united in an extremely limited space,
+to produce a single tone; functions which can only be heard, scarcely
+felt--indeed, should be felt as little as possible. Thus, in spite of
+ourselves, we can only come back again to the point from which we
+started, as in an eddy, repeating the explanations of the single
+functions, and relating them to each other.
+
+Since in singing we sense none of the various activities of the
+cartilage, muscles, ligaments, and tendons that belong to the vocal
+apparatus, feel them only in their coöperation, and can judge of the
+correctness of their workings only through the ear, it would be absurd
+to think of them while singing. We are compelled, in spite of
+scientific knowledge, to direct our attention while practising, to the
+sensations of the voice, which are the only ones we can become aware
+of,--sensations which are confined to the very palpable functions of
+the organs of breathing, the position of the larynx, of the tongue,
+and of the palate, and finally, to the sensation of the resonance of
+the head cavities. The perfect tone results from the combined
+operations of all these functions, the sensations of which I undertake
+to explain, and the control of which the ear alone can undertake.
+
+This is the reason why it is so important to learn to hear one's self,
+and to sing in such a way that one can always so hear.
+
+Even in the greatest stress of emotion the power of self-control must
+never be lost; you must never allow yourself to sing in a slovenly,
+that is, in a heedless, way, or to exceed your powers, or even to
+reach their extreme limit. That would be synonymous with roughness,
+which should be excluded from every art, especially in the art of
+song. The listener must gain a pleasing impression from every tone,
+every expression of the singer; much more may be given if desired.
+
+Strength must not be confounded with roughness; and the two must not
+go hand in hand together. Phenomenal beings may perhaps be permitted
+to go beyond the strength of others; but to the others this must
+remain forbidden. It cannot become a regular practice, and is best
+limited to the single phenomenon. We should otherwise soon reach the
+point of crudest realism, from which at best we are not far removed.
+Roughness will never attain artistic justification, not even in the
+case of the greatest individual singers, because it is an offence.
+
+The public should witness from interpretative art only what is good
+and noble on which to form its taste; there should be nothing crude or
+commonplace put before it, which it might consider itself justified in
+taking as an example.
+
+Of the breath sensation I have already spoken at length. I must add
+that it is often very desirable in singing to breathe through the
+nose with the mouth closed; although when this is done, the raising of
+the palate becomes less certain, as it happens somewhat later than
+when the breath is taken with the mouth open. It has, however, this
+disadvantage, that neither cold air nor dust is drawn into the larynx
+and air passages. I take pleasure in doing it very often. At all
+events, the singer should often avail himself of it.
+
+We feel the larynx when the epiglottis springs up ("stroke of the
+glottis," if the tone is taken from below upward). We can judge
+whether the epiglottis springs up quickly enough if the breath comes
+out in a full enough stream to give the tone the necessary resonance.
+The low position of the larynx can easily be secured by pronouncing
+the vowel _oo_; the high, by pronouncing the vowel _[=a]_. Often
+merely thinking of one or the other is enough to put the larynx,
+tongue, and palate in the right relations to each other. Whenever I
+sing in a high vocal range, I can plainly feel the larynx rise and
+take a diagonal position. (See plate.)
+
+The movement is, of course, very slight. Yet I have the feeling in my
+throat as if everything in it was stretching. I feel the pliability of
+my organs plainly as soon as I sing higher.
+
+
+
+
+SECTION X
+
+SENSATION AND POSITION OF THE TONGUE
+
+
+We feel the placing of its tip against or beneath the front teeth; and
+place the tip very low, so that it really curves over in front. (See
+plate.)
+
+Its hinder part must be drawn back toward the palate, in the
+pronunciation of every letter.
+
+Furthermore, by looking in the mirror we can _see_ that the sides of
+the tongue are raised as soon as we wish to form a furrow in it; that
+is, as we _must_ do to produce the palatal resonance. (Only in the
+head tone--that is, the use of the resonance of the head cavities
+without the added palatal resonance--has the tongue no furrow; it
+must, however, lie very high, since otherwise its mass, when it lies
+flat, presses against the larynx and produces pinched or otherwise
+disagreeable tones.)
+
+The best way is to get the mass of the tongue out of the way by
+forming the furrow in it. In high notes, when the larynx must stand as
+high as possible, the back of the tongue also must stand very high;
+but since there is a limit to this, we are often compelled to make the
+larynx take a lower position.
+
+[Illustration: Correct. Incorrect.]
+
+The correct position of the tongue, preparatory to singing, is gained
+by saying the vowel sound _aou_, as if about to yawn.
+
+The tongue must not scrape around upward with its tip. As soon as the
+tip has been employed in the pronunciation of the consonants _l_, _n_,
+_s_, _t_, and _z_, in which its service is very short and sharp, it
+must return to its former position, and keep to it.
+
+It is best to watch the movements of the tongue in the mirror until we
+have formed the correct habit permanently. The more elastic the tongue
+is in preparing the form for the breath to pass through, the stiller
+will it appear, the stiller will it feel to us. It is well, however,
+for a considerable time to watch in a mirror all functions of the
+organs that can be seen; the expression of the face, the position of
+the mouth, and the movement of the lips.
+
+
+
+
+SECTION XI
+
+THE SENSATIONS OF THE PALATE
+
+
+The sensations of the palate are best made clear to us by raising the
+softest part behind the nose. This part is situated very far back. Try
+touching it carefully with the finger. This little part is of
+immeasurable importance to the singer. By raising it the entire
+resonance of the head cavities is brought into play--consequently the
+head tones are produced. When it is raised, the pillars of the fauces
+are lowered. In its normal position it allows the pillars to be
+distended and to close the head cavities off from the throat, in order
+to produce the chest tones; that is, to permit the breath to make
+fullest use of the palatal resonance. As soon as the soft palate is
+lowered under the nose, it makes a point of resonance for the middle
+range of voice, by permitting the overtones to resound at the same
+time in the nose. (See plate, middle range.)
+
+[Illustration: Red lines denote middle range of soprano, contralto,
+and tenor.
+
+In the German names of the notes, _h_ represents _b_ in the English.]
+
+[Illustration: Red line denotes peak, or softest point of the palate.]
+
+Thus the palate performs the whole work so far as concerns the
+different resonances, which can be united and separated by it, but
+must _always work together in close relation, always bound together in
+all tones, in all kinds of voices_.
+
+The lowest chest tones of the bass, the highest head tones of the
+soprano, are thus the two poles between which the entire gamut of all
+voices can be formed. From this it can be perceived that with a
+certain degree of skill and willingness to work, every voice will be
+capable of great extension.
+
+
+
+
+SECTION XII
+
+THE SENSATION OF THE RESONANCE OF THE HEAD CAVITIES
+
+
+The sensation of the resonance of the head cavities is perceived
+chiefly by those who are unaccustomed to using the head tones. The
+resonance against the occipital walls of the head cavities when the
+head tones are employed, at first causes a very marked irritation of
+the nerves of the head and ear. But this disappears as soon as the
+singer gets accustomed to it. The head tones can be used and directed
+by the breath only with a clear head. The least depression such as
+comes with headaches, megrim, or moodiness may have the worst effect,
+or even make their use quite impossible. This feeling of oppression is
+lost after regular, conscious practice, by which all unnecessary and
+disturbing pressure is avoided. In singing very high head tones I have
+a feeling as if they lay high above the head, as if I were setting
+them off into the air. (See plate.)
+
+Here, too, is the explanation of singing _in the neck_. The breath, in
+all high tones which are much mixed with head tones or use them
+entirely, passes very far back, directly from the throat into the
+cavities of the head, and thereby, and through the oblique position of
+the larynx, gives rise to the sensations just described. A singer who
+inhales and exhales carefully, that is, with knowledge of the
+physiological processes, will always have a certain feeling of
+pleasure, an attenuation in the throat as if it were stretching itself
+upward. The bulging out of veins in the neck, that can so often be
+seen in singers, is as wrong as the swelling up of the neck, looks
+very ugly, and is not without danger from congestion.
+
+With rapid scales and trills one has the feeling of great firmness of
+the throat muscles, as well as of a certain stiffness of the larynx.
+(See "Trills.") An unsteady movement of the latter, this way and that,
+would be disadvantageous to the trill, to rapid scales, as well as to
+the cantilena. For this reason, because the changing movements of the
+organs must go on quite imperceptibly and inaudibly, it must be more
+like a shifting than a movement. In rapid scales the lowest tone must
+be "placed" with a view to the production of the highest, and in
+descending, the greatest care must be exercised that the tone shall
+not tumble over each other single, but shall produce the sensation of
+closely connected sounds, through being bound to the high tone
+position and pressed toward the nose.
+
+In this all the participating vocal organs must be able to keep up a
+muscular contraction, often very rigid: a thing that is to be achieved
+only gradually through long years of careful and regular study.
+Excessive practice is of no use in this--only regular and
+intelligent practice; and success comes only in course of time.
+
+[Illustration: Red line denotes vocal sensation of soprano and tenor.]
+
+Never should the muscular contractions become convulsive and produce
+pressure which the muscles cannot endure for a long time. They must
+respond to all necessary demands upon their strength, yet remain
+elastic in order that, easily relaxing or again contracting, they may
+promptly adapt themselves to every nuance in tone and accent desired
+by the singer.
+
+A singer can become and continue to be master of his voice and means
+of expression only as long as he practises daily correct vocal
+gymnastics. In this way alone can he obtain unconditional mastery over
+his muscles, and, through them, of the finest controlling apparatus,
+of the beauty of his voice, as well as of the art of song as a whole.
+
+Training the muscles of the vocal organs so that their power to
+contract and relax to all desired degrees of strength, throughout the
+entire gamut of the voice, is always at command, makes the master
+singer.
+
+As I have already said, the idea of "singing forward" leads very many
+singers to force the breath from the mouth without permitting it to
+make full use of the resonating surfaces that it needs, yet it streams
+forth from the larynx really very far back in the throat, and the
+straighter it rises in a column behind the tongue, the better it is
+for the tone. The tongue must furnish the surrounding form for this,
+for which reason it must not lie flat in the mouth. (See plate, the
+tongue.)
+
+The whirling currents of tone circling around their focal point (the
+attack) find a cup-shaped resonating cavity when they reach the front
+of the mouth and the lips, which, through their extremely potent
+auxiliary movements, infuse life and color into the tone and the word.
+Of equal importance are the unimpeded activity of the whirling
+currents of sound and their complete filling of the resonating
+spaces in the back of the throat, the pillars of the fauces, and the
+head cavities in which the vocalized breath must be kept soaring above
+the larynx and _soaring undisturbed_.
+
+In the lowest range of the voice the entire palate from the front
+teeth to the rear wall of the throat must be thus filled. (See plate.)
+
+[Illustration: Red lines denote division of the breath in the palatal
+resonance: lower range of male and female voices.]
+
+With higher tones the palate is lowered, the nostrils are inflated,
+and above the hard palate a passage is formed for the overtones. (See
+plate.)
+
+[Illustration: Red lines denote division of the breath in the middle
+range and higher middle range.]
+
+This air which soars above must, however, not be in the least
+compressed; the higher the tone, the less pressure should there be;
+for here, too, whirling currents are formed, which must be neither
+interrupted nor destroyed. The breath must be carried along on the
+wall of the throat without compression, in order to accomplish its
+work. (See plate, high tones.)
+
+[Illustration: Resonance of the cavity of the forehead.
+
+Red lines denote division of the breath in the resonance of the head
+cavities, high range.]
+
+Singing forward, then, does not mean pressing the whole of the
+_breath_ or the tone forward, but only part of it; that is, in the
+middle register, finding a resonating focus in front, caused by the
+lowering of the front of the palate. This permits a free course only
+to that part of the breath which is used up by the whirling currents
+in the resonant throat form, and serves to propagate the outer waves,
+and carry them farther through space.
+
+
+
+
+SECTION XIII
+
+SINGING COVERED
+
+
+We sing covered as soon as the soft palate is lowered toward the nose
+(that is, in the middle register), and the resonance and attack are
+transferred thither so that the breath can flow over the soft palate
+through the nose.
+
+This special function of the palate, too, should be carefully prepared
+for in the tones that precede it, and mingled with them, in order not
+to be heard so markedly as it often is. In men's voices this is much
+more plainly audible than in women's; but both turn it to account
+equally on different tones. This often produces a new register that
+should not be produced. This belongs to the chapter on registers.
+
+[Music illustration]
+
+The tone is concentrated on the front of the palate instead of being
+spread over all of it--but this must not be done too suddenly. [See
+illustrations on pages 127, 129, 131, 133.]
+
+[Illustration: Red lines denote covered tones for contralto and
+soprano.]
+
+[Illustration: Red lines denote covered tones for bass and baritone.]
+
+[Illustration: Red lines denote change of attack. (Soprano, contralto,
+and tenor.)]
+
+[Illustration: Red lines denote change of attack. (Bass and
+baritone.)]
+
+
+
+
+SECTION XIV
+
+ON VOCAL REGISTERS
+
+
+What is a vocal register?
+
+A series of tones sung in a certain way, which are produced by a
+certain position of the vocal organs--larynx, tongue, and palate.
+Every voice includes three registers--chest, middle, and head. But all
+are not employed in every class of voice.
+
+Two of them are often found connected to a certain extent in
+beginners; the third is usually much weaker, or does not exist at all.
+Only very rarely is a voice found naturally equalized over its whole
+compass.
+
+Do registers exist by nature? No. It may be said that they are created
+through long years of speaking in the vocal range that is easiest to
+the person, or in one adopted by imitation, which then becomes a
+fixed habit. If this is coupled with a natural and proper working of
+the muscles of the vocal organs, it may become the accustomed range,
+strong in comparison with others, and form a register by itself. This
+fact would naturally be appreciated only by singers.
+
+If, on the other hand, the muscles are wrongly employed in speaking,
+not only the range of voice generally used, but the whole voice as
+well, may be made to sound badly. So, in every voice, one or another
+range may be stronger or weaker; and this is, in fact, almost always
+the case, since mankind speaks and sings in the pitch easiest or most
+accustomed, without giving thought to the proper position of the
+organs in relation to each other; and people are rarely made to pay
+attention as children to speaking clearly and in an agreeable voice.
+In the most fortunate instances the range thus practised reaches
+limits on both sides, not so much those of the person's power, as
+those set by his lack of skill, or practice. Limitations are put on
+the voice through taking account only of the easiest and most
+accustomed thing, without inquiring into the potentialities of the
+organs or the demands of art.
+
+[Illustration: Red lines denote a register is formed when as many
+tones as possible are forced upon one and the same point of resonance.
+(Bass and baritone.)]
+
+[Illustration: Red lines denote a register is formed when as many
+tones as possible are forced upon one and the same point of resonance.
+(Soprano, contralto, and tenor.)]
+
+Now, suppose such a peculiarity which includes, let us say, three or
+four tones, is extended to six or eight, then, in the course of time,
+in the worst cases, a break is produced at the outside limits. In the
+most favorable cases the tones lying next beyond these limits are
+conspicuously weak and without power compared with those previously
+forced. This one way of singing can be used no farther; another must
+be taken up, only, perhaps, to repeat farther the incorrect procedure.
+
+Three such limits or ways of singing can be found and used. Chest,
+middle, and head voice, all three form registers when exaggerated; but
+they should be shaded off and melt into each other. The organs,
+through the skilful training of the teacher, as well as by the
+exercise of the pupil's talent and industry, must be accustomed to
+taking such positions that one register leads into another
+imperceptibly. In this way beauty, equality, and increased compass of
+the voice will be made to enhance its usefulness.
+
+When the three ways of singing are too widely different and too
+sharply contrasted, they become separate registers. These are
+everywhere accepted as a matter of course, and for years have been a
+terror in the teaching of singing, that has done more than anything
+else to create a dreadful bewilderment among singers and teachers. To
+eradicate it is probably hopeless. Yet, these registers are nothing
+more than three disconnected manners of using the vocal and resonating
+apparatus.
+
+With all the bad habits of singers, with all the complete ignorance of
+cause and effect, that prevail, it is not surprising that some pretend
+to tell us that there are two, three, four, or five registers,
+although as a matter of fact there can be at most three in any voice.
+It will be much more correct to call every tone of every voice by the
+name of a new additional register, for in the end, every tone will and
+_must_ be taken in a different relation, with a different position of
+the organs, although the difference may be imperceptible, if it is to
+have its proper place in the whole. People cling to the appellations
+of chest, middle, and head _register_, confounding voice with
+register, and making a hopeless confusion, from which only united and
+very powerful forces can succeed in extricating them.
+
+As long as the word "register" is kept in use, the registers will not
+disappear. And yet, the register question must be swept away, to give
+place to another class of ideas, sounder views on the part of
+teachers, and a truer conception on the part of singers and pupils.
+
+
+
+
+SECTION XV
+
+DEVELOPMENT AND EQUALIZATION
+
+
+Naturally, a singer can devote more strength to the development of one
+or two connected ranges of his voice than to a voice perfectly
+equalized in all its accessible ranges. For this are required many
+years of the most patient study and observation, often a
+long-continued or entire sacrifice of one or the other limit of a
+range for the benefit of the next-lying weaker one; of the head voice
+especially, which, if unmixed, sounds uneven and thin in comparison
+with the middle range, until by means of practised elasticity of the
+organs and endurance of the throat muscles a positive equalization can
+take place.
+
+Voices which contain only one or two registers are called short
+voices, for their availability is as limited as they are themselves.
+
+Yet it must be remembered that all voices alike, whether short or
+long, even those of the most skilful singers, when age comes on, are
+apt to lose their highest ranges, if they are not continually
+practised throughout their entire compass with the subtlest use of the
+head tones. Thence it is to be concluded that a singer ought always to
+extend the compass of his voice as far as possible, in order to be
+certain of possessing the compass that he needs.
+
+On the formation of the organs depends much of the character of the
+voice. There are strong, weak, deep, and high voices by nature; but
+every voice, by means of proper study, can attain a certain degree of
+strength, flexibility, and compass.
+
+Unfortunately, stubbornness enters largely into this question, and
+often works in opposition to the teacher. Many, for instance, wish to
+be altos, either because they are afraid of ruining their voices by
+working for a higher compass, or because it is easier for them, even
+if their voices are not altos at all.
+
+Nowadays operas are no longer composed for particular singers and the
+special characteristics of their voices. Composers and librettists
+express what they feel without regard to an alto singer who has no
+high C or a soprano who has no low A flat or G. But the _artist_ will
+always find what he needs.
+
+Registers exist in the voices of almost all singers, but they ought
+not to be heard, ought not, indeed, to exist. Everything should be
+sung with a mixed voice in such a way that no tone is forced at the
+expense of any other. To avoid monotony the singer should have at his
+disposal a wealth of means of expression in all ranges of his voice.
+(See the Varieties of Attack and Dynamic Power.) Before all else he
+should have knowledge of the advantages in the resonance of certain
+tones, and of their connection with each other. The _soul_ must
+provide the color; skill and knowledge as to cause and effect,
+management of the breath, and perfection of the throat formation must
+give the power to produce every dynamic gradation and detail of
+expression. Registers are, accordingly, produced when the singer
+forces a series of tones, generally ascending, upon one and the same
+resonating point, instead of remembering that in a progression of
+tones no one tone can be exactly like another, because the position of
+the organs must be different for each. The palate must remain elastic
+from the front teeth to its hindmost part, mobile and susceptible,
+though imperceptibly, to all changes. Very much depends on the
+continuous harmony of action of the soft and hard palate, which must
+always be in full evidence, the raising and extension of the former
+producing changes in the tone. If, as often happens when the registers
+are sharply defined, tones fall into a _cul de sac_, escape into
+another register is impossible, without a jump, which may lead to
+disaster. With every tone that the singer has to sing, he must always
+have the feeling that he _can_ go higher, and that the attack for
+different tones must not be forced upon one and the same point.
+
+The larynx must not be _suddenly_ pressed down nor jerked up, except
+when this is desired as a special effect. That is, when one wishes to
+make a transition, _legato_, from a chest tone to a tone in the middle
+or head register, as the old Italians used to do, and as I, too,
+learned to do, thus:--
+
+[Music illustration]
+
+In this case the chest tone is attacked very nasal, in order that the
+connection may remain to the upper note, and the larynx is suddenly
+jerked up to the high tone. This was called breaking the tone; it was
+very much used, and gave fine effects when it was well done. I use it
+to-day, especially in Italian music, where it belongs. It is an
+exception to the rule for imperceptible or inaudible change of
+position of the organs,--that it should not be made _suddenly_.
+
+The scale proceeds from one semitone to another; each is different;
+each, as you go on, requires greater height, wherefore the position of
+the organs cannot remain the same for several different tones. But, as
+there should never be an abrupt change audible in the way of singing,
+so should there never be an abrupt change felt in the sensations of
+the singer's throat. Every tone must be imperceptibly prepared in an
+elastic channel and must produce an easy feeling in the singer, as
+well as an agreeable impression upon the listener.
+
+The small peak indicated in the illustration is enormously extensible
+and can be shifted into infinite varieties of position. However
+unimportant its raising and lowering may appear, they are nevertheless
+of great importance for the tone and the singer. The focal point of
+the breath, that forms simultaneously the attack and the body of the
+tone, by the operation of the abdominal breath pressure against the
+chest, is always firmly placed on, beneath, or behind the nose.
+Without body even the finest pianissimo has no significance. The very
+highest unmixed head tones are an exception, and they can express
+nothing. There can be no body expected in them. Their soaring quality
+of sound endures no pressure, and consequently gives no expression,
+which is possible only through an admixture of palatal resonance.
+Their only significance is gained through their pure euphony.
+
+All vowels, too, must keep their point of resonance uninterruptedly on
+the palate. All beauty in the art of song, in cantilena as well as in
+all technique, consists chiefly in uninterrupted connection between
+the tone and the word, in the flexible connection of the soft palate
+with the hard, in the continually elastic adjustment of the former
+to the latter. This means simply the elastic form, which the breath
+must fill in every corner of resonating surface without interruption,
+as long as the tone lasts.
+
+[Illustration: Red line denotes softest point on the palate.]
+
+If the singer will control his tone,--and in practising he must always
+do so,--he needs only to test it to see whether he can easily make it
+softer without perceptible change in the position of the organs, and
+carry it higher toward the nose and the cavities of the forehead; that
+is, prepare a form for its continuation upward.
+
+_In this way he can learn how much height a tone needs without being
+too high, and how much it often lacks in height and duration to sound
+high enough._
+
+In this way remarkable faults become evident! The reason why a tone
+sounds too low--the so-called transition tones from the lower to the
+middle range and from this to the higher, come up for consideration
+chiefly--is that the pillars of the fauces are raised too high toward
+the back, preventing the head tones from sounding at the same time; or
+the soft palate is lowered too far under the nose, which results in
+pressing the tone too long and too far toward the teeth. This fault is
+met with in very many singers, in all kinds of voices, and in almost
+the same places. It comes only from an unyielding retention of the
+same resonating point for several tones and a failure to bring in the
+resonance of the head cavities. The "propagation form," or continuing
+form,[2] must always be prepared consciously, for without it artistic
+singing is not to be thought of.
+
+[Footnote 2: "Fortpflanzungsform": the preparation made in the vocal
+organs for taking the next tone before leaving the one under
+production, so that the succeeding tones shall all be of like
+character and quality.]
+
+The neglect of this most important principle usually results in
+overstraining the vocal cords and throat muscles. This is followed
+first by singing flat, and later by the appearance of the hideous
+tremolo (see Tremolo) to which so many singers fall victims. The
+cause of a tone's being too sharp is the dwelling too long on the
+resonance of the head cavities, where the tone should already have
+been mixed with palatal resonance. With very young voices this can
+easily happen, and can also result from weariness, when the bodily
+strength is not developed sufficiently to endure the fatigue of
+practising. A very circumspect course must then be followed.
+
+
+
+
+SECTION XVI
+
+WHITE VOICES
+
+
+There are also singers, male and female, who use too much head tone
+through their entire compass; such voices are called "white." Their
+use of the palatal resonance being insufficient, they are not able to
+make a deeper impression, because their power of expression is
+practically nothing. Frau Wedekind and Madame Melba are instances of
+this. In such cases it would be advisable to raise the pillars of the
+fauces a little higher, and place the larynx somewhat lower, and to
+mingle judiciously with all the other vowels, the vowel sound _oo_,
+that requires a lower position of the larynx. The voices would become
+warmer and would sound more expressive. As soon as the singer is able
+to create easily and inaudibly on every tone the correct propagation
+form for the next tone, all questions as to register must disappear.
+He must not, however, be drilled on _registers_; several tones must
+not be forced on one and the same point. Every tone should be put
+naturally into its own place; should receive the pitch, duration, and
+strength it needs for its perfection. And one master rules it
+all,--the ear!
+
+The goal is, unfortunately, so seldom reached because it can be
+reached only through the moderation that comes from mastery; and,
+alas! only true masters practise it.
+
+It may be accepted as true that the lower ranges of the voice have the
+greatest strength, the middle ranges the greatest power of expression,
+the higher the greatest carrying power.
+
+The best mixture--all three together--may be developed to the highest
+art by the skill of the individual, often, indeed, only by a good ear
+for it. Whenever expression of the word's significance, beauty of the
+vocal material, and perfection of phrasing are found united in the
+highest degree, it is due either to knowledge or to a natural skill in
+the innumerable ways of fitting the sung word to the particular
+resonance--connections that are suitable to realize its significance,
+and hence its spirit. They are brought out by a stronger inclination
+toward one or the other of the resonance surfaces, without, however,
+injuring the connection or the beauty of the musical phrase. Here
+aesthetic feeling plays the chief part, for whatever may be its power
+and its truthfulness, the result must always be beautiful,--that is,
+restrained within proper limits.
+
+This law, too, remains the same for all voices. It is a question of
+the entire compass of a voice trained for artistic singing, one that
+is intrusted with the greatest of tasks, to interpret works of art
+that are no popular songs, but, for the most part, human tragedies.
+Most male singers--tenors especially--consider it beneath them,
+generally, indeed, unnatural or ridiculous, to use the falsetto,
+which is a part of all male voices, as the head tones are a part of
+all female voices. They do not understand how to make use of its
+assistance, because they often have no idea of its existence, or know
+it only in its unmixed purity--that is, its thinnest quality. Of its
+proper application they have not the remotest conception. Their
+singing is generally in accordance with their ignorance.
+
+The mixture is present by nature in all kinds of voices, but singers
+must possess the skill and knowledge to employ it, else the natural
+advantage goes for nothing.
+
+
+
+
+SECTION XVII
+
+THEODOR WACHTEL
+
+
+The most perfect singer that I remember in my Berlin experience was
+Theodor Wachtel in this respect, that with his voice of rare splendor,
+he united all that vocal art which, as it seems, is destined quite to
+disappear from among us. How beautiful were his coloratura, his
+trills,--simply flawless! Phrasing, force, fulness of tone, and beauty
+were perfect, musically without a blemish. If he did not go outside
+the range of Arnold, G. Brown, Stradella, Vasco, the Postillion and
+Lionel, it was probably because he felt that he was not equal to
+interpreting the Wagnerian spirit. In this he was very wise. As one of
+the first of vocal artists, whose voice was superbly trained and was
+preserved to the end of his life, I have had to pay to Wachtel the
+tribute of the most complete admiration and recognition, in contrast
+to many others who thought themselves greater than he, and yet were
+not worthy to unloose the latchet of his shoes.
+
+Recently the little Italian tenor Bonci has won my hearty admiration
+for his splendidly equalized voice, his perfect art, and his knowledge
+of his resources; and notwithstanding the almost ludicrous figure that
+he cut in serious parts, he elicited hearty applause. Cannot German
+tenors, too, learn to sing _well_, even if they do interpret Wagner?
+Will they not learn, for the sake of this very master, that it is
+their duty not to use their voices recklessly?
+
+Is it not disrespectful toward our greatest masters that they always
+have to play hide and seek with the _bel canto_, the trill, and
+coloratura? Not till one has fully realized the difficulties of the
+art of song, does it really become of value and significance. Not till
+then are one's eyes opened to the duty owed not only to one's self
+but to the public.
+
+The appreciation of a difficulty makes study doubly attractive; the
+laborious ascent of a summit which no one can contest, is the
+attainment of a goal.
+
+Voices in which the palatal resonance--and so, power--is the
+predominating factor, are the hardest to manage and to preserve. They
+are generally called chest voices. Uncommon power and fulness of tone
+in the middle ranges are extremely seductive. Only rarely are people
+found with sense enough to renounce such an excess of fulness in favor
+of the head tones,--that is, the least risky range to exploit and
+preserve,--even if this has to be done only temporarily.
+
+Copious vocal resources may with impunity be brought before the public
+and thereby submitted to strain, only after long and regular study.
+
+The pure head tone, without admixture of palatal resonance, is feeble
+close at hand, but penetrating and of a carrying power equalled by no
+other. Palatal resonance without admixture of the resonance of the
+head cavities (head tones) makes the tone very powerful when heard
+near by, but without vibrancy for a large auditorium. This is the
+proof of how greatly _every_ tone needs the proper admixture.
+
+
+
+
+SECTION XVIII
+
+THE HIGHEST HEAD TONES
+
+
+As we have already seen, there is almost no limit to the height that
+can be reached by the pure head tone without admixture of palatal
+resonance. Very young voices, especially, can reach such heights, for
+without any strain they possess the necessary adaptability and skill
+in the adjustment to each other of the larynx, tongue, and pillars of
+the fauces. A skill that rests on ignorance of the true nature of the
+phenomenon must be called pure chance, and thus its disappearance is
+as puzzling to teacher and listener as its appearance had been in the
+first place. How often is it paired with a total lack of ability to
+produce anything but the highest head tones! As a general rule such
+voices have a very short lease of life, because their possessors are
+exploited as wonders, before they have any conception of the way to
+use them, of tone, right singing, and of cause and effect in general.
+An erroneous pressure of the muscles, a wrong movement of the tongue
+(raising the tip, for instance, [Illustration]), an attempt to
+increase the strength of the tone,--all these things extinguish
+quickly and for all time the wonder-singer's little light.
+
+We Lehmann children in our youth could sing to the very highest pitch.
+It was nothing for my sister Marie to strike the 4-line _e_ a hundred
+times in succession, and trill on it for a long time. She could have
+sung in public at the age of seven. But since our voices, through the
+circumstances of our life and surroundings, were forced to early
+exertions, they lost their remarkable high notes; yet enough was left
+to sing the _Queen of Night_ (in Mozart's opera "Die Zauberflöte"),
+with the high _f_.
+
+After I had been compelled to use my lower and middle ranges much
+more, in the study of dramatic parts, I omitted the highest notes from
+my practice, but could not then always have relied on them. Now that I
+know on what it all depends, it is very easy for me to strike high
+_f_, not only in passing, but to combine it with any tone through
+three octaves. But upon the least pressure by any organ, the head
+resonance loses its brilliancy; that is, the breath no longer streams
+into the places where it should, and can create no more whirling
+currents of sound to fill the spaces.
+
+But one should not suppose that the head tones have no power. When
+they are properly used, their vibrancy is a substitute for any amount
+of power.
+
+As soon as the head tones come into consideration, one should _never_
+attempt to sing an open _ah_, because on _ah_ the tongue lies
+flattest. One should think of an _[=a]_, and in the highest range even
+an _[=e]_; should mix the _[=a]_ and _[=e]_ with the _ah_, and thereby
+produce a position of the tongue and soft palate that makes the path
+clear for the introduction of the breath into the cavities of the
+head.
+
+[Illustration: Red lines denote vocal sensation in the highest head
+tones without mixture.]
+
+Singers who, on the other hand, pronounce _[=a]_ and _[=e]_ too
+sharply, need only introduce an admixture of _oo_; they thereby lower
+the position of the larynx, and thus give the vowel and tone a darker
+color.
+
+Since the stream of breath in the highest tones produces currents
+whirling with great rapidity, the more rapidly the higher the tone is,
+the slightest pressure that may injure the form in which they
+circulate may ruin the evenness of the tone, its pitch, perhaps the
+tone itself. Each high tone must _soar gently_, like the overtones.
+
+The upper limits of a bass and baritone voice are
+
+[Music illustration]
+
+where, consequently, the tones must be mixed. Pure head tones, that
+is, falsetto, are never demanded higher than this. I regard it,
+however, as absolutely necessary for the artist to give consideration
+to his falsetto, that he may include it among his known resources.
+Neither a bass nor a baritone should neglect to give it the proper
+attention, and both should learn to use it as one of their most
+important auxiliary forces.
+
+With what mastery did Betz make use of it; how noble and beautiful his
+voice sounded in all its ranges; of what even strength it was, and how
+infallibly fresh! And let no one believe that Nature gave it to him
+thus. As a beginner in Berlin he was quite unsatisfactory. He had the
+alternative given him either to study with great industry or to seek
+another engagement, for his successor had already been selected. Betz
+chose to devote himself zealously to study; he began also to play the
+'cello; he learned to _hear_, and finally raised himself to be one of
+our first singers, in many rôles never to be forgotten. Betz knew,
+like myself, many things that to-day are neither taught nor learned.
+
+
+
+
+SECTION XIX
+
+EXTENSION OF THE COMPASS AND EQUALIZATION OF REGISTERS
+
+
+The whole secret of both consists in the proper raising and lowering
+of the soft palate, and the pillars of the fauces connected with it.
+This divides into two resonating divisions the breath coming from the
+source of supply, and forced against the chest, whereby it is put
+under control, as it escapes vocalized from the larynx. It consists
+also in the singer's natural adaptability and skill, in so placing the
+palate and resonance of the head cavities, or keeping them in
+readiness for every tone, as the pitch, strength, and duration of the
+individual tones or series of connected tones, with their propagation
+form, shall demand.
+
+
+
+
+SECTION XX
+
+THE TREMOLO
+
+
+Big voices, produced by large, strong organs, through which the breath
+can flow in a broad, powerful stream, are easily disposed to suffer
+from the tremolo, because the outflow of the breath against the vocal
+cords occurs too _immediately_. The breath is sent directly out from
+the lungs and the body, instead of being driven by the abdominal
+pressure forward against the chest and the controlling apparatus. Not
+till this has been done, should it be admitted, in the smallest
+amounts, and under control to the vocal cords. It does not pause, but
+streams through them without burdening them, though keeping them
+always more or less stretched, in which the muscular power of
+contraction and relaxation assists. Streaming _gently_ out from the
+vocal cords, it is now led, with the support of the tongue, to its
+resonance chambers, all the corners of which it fills up equally. Even
+the strongest vocal cords cannot for any length of time stand the
+uncontrolled pressure of the breath. They lose their tension, and the
+result is the tremolo.
+
+In inhaling, the chest should be raised not at all or but very little.
+(For this reason exercises for the expansion of the chest must be
+practised.) The pressure of the breath _against_ the chest must be
+maintained as long as it is desired to sustain a tone or sing a
+phrase. As soon as the pressure of the abdomen and chest ceases, the
+tone and the breath are at an end. Not till toward the very end of the
+breath, that is, of the tone or the phrase, should the pressure be
+slowly relaxed, and the chest slowly sink.
+
+While I am singing, I must press the breath against the chest
+_evenly_, for in this way alone can it be directed evenly against the
+vocal cords, which is the chief factor in a steady tone and the only
+possible and proper use of the vocal cords.
+
+The uninterrupted control of the breath pressure against the chest
+gives to the tone, as soon as it has found a focal point on the raised
+palate at the attack, the basis, the body, which must be maintained
+even in the softest pianissimo. Control of the breath should never
+cease. The tone should never be made too strong to be kept under
+control, nor too weak to be kept under control. This should be an
+inflexible rule for the singer.
+
+I direct my whole attention to the pressure against the chest, which
+forms the door of the supply chamber of breath. Thence I admit to the
+vocal cords uninterruptedly only just so much as I wish to admit. I
+must not be stingy, nor yet extravagant with it. Besides giving
+steadiness, the pressure against the chest (the controlling apparatus)
+establishes the strength and the duration of the tone. Upon the
+proper control depends the length of the breath, which, without
+interruption, rises from here toward the resonating chambers, and,
+expelled into the elastic form of the resonating apparatus, there must
+obey our will.
+
+[Illustration: Vocal Cords.]
+
+It can now be seen how easily the vocal cords can be injured by an
+uncontrolled current of breath, if it is directed against them in all
+its force. One need only see a picture of the vocal cords to
+understand the folly of exposing these delicate little bands to the
+explosive force of the breath. They cannot be protected too much; and
+also, they cannot be too carefully exercised. They must be spared all
+work not properly theirs; this must be put upon the chest tension
+muscles, which in time learn to endure an out-and-out thump.
+
+Even the vibrato, to which full voices are prone, should be nipped in
+the bud, for gradually the tremolo, and later even worse, is developed
+from it. Life can be infused into the tone by means of the lips--that
+is, in a way that will do no harm. But of that later.
+
+Vibrato is the first stage, tremolo the second; a third and last, and
+much more hopeless, shows itself in flat singing on the upper middle
+tones of the register. Referable in the same way to the overburdening
+of the vocal cords is the excessive straining of the throat muscles,
+which, through continual constriction, lose their power of _elastic_
+contraction and relaxation because pitch and duration of the tone are
+gained in an incorrect way, by forcing. Neither should be forced;
+pitch should be merely maintained, as it were, soaring; strength
+should not be gained by a cramped compression of the throat muscles,
+but by the completest possible filling with breath of the breath-form
+and the resonance chambers, under the government of the controlling
+apparatus.
+
+_Neglect of the head tones (overtones) is paid for dearly._
+
+The more violent exertions are made to force them, and to keep them,
+the worse are the results. For most of the unhappy singers who do
+this, there is but one result: the voice is lost. How pitiful!
+
+If the first and second stages of tremolo are difficult to remedy,
+because the causes are rarely understood and the proper measures to
+take for their removal still more rarely, the repair of the last stage
+of the damage is nothing less than a fight, in which only an
+unspeakable patience can win the victory.
+
+
+
+
+SECTION XXI
+
+THE CURE
+
+
+There are no magic cures for the singer. Only slowly, vibration upon
+vibration, can the true pitch be won back. In the word "soaring" lies
+the whole idea of the work. No more may the breath be allowed to flow
+uncontrolled through the wearied vocal cords; it must be forced
+against the chest, always, as if it were to come directly out thence.
+The throat muscles must lie fallow until they have lost the habit of
+cramped contraction; until the overtones again soar as they should,
+and are kept soaring long, though quite _piano_. At first this seems
+quite impossible, and is indeed very difficult, demanding all the
+patient's energy. But it is possible, and he cannot avoid it, for it
+is the only way to a thorough cure. The patient has an extremely
+disagreeable period to pass through. If he is industrious and careful,
+he will soon find it impossible to sing in his old way; but the new
+way is for the most part quite unfamiliar to him, because his ear
+still hears as it has previously been accustomed to hear. It may be
+that years will pass before he can again use the muscles, so long
+maltreated. But he should not be dismayed at this prospect. If he can
+no longer use his voice in public as a singer, he certainly can as a
+teacher--for _a teacher must be able to sing well_. How should he
+describe to others sensations in singing which he himself never felt?
+Is it not as if he undertook to teach a language that he did not speak
+himself? or an instrument that he did not play himself? When he
+himself does not hear, how shall he teach others to hear?
+
+The degree of the evil, and the patient's skill, naturally have much
+to do with the rapidity of the cure. But one cannot throw off a habit
+of years' standing like an old garment; and every new garment, too, is
+uncomfortable at first. One cannot expect an immediate cure, either of
+himself or of others. If the singer undertakes it with courage and
+energy, he learns to use his voice with conscious understanding, as
+should have been done in the beginning.
+
+And he must make up his mind to it, that even after a good cure, the
+old habits will reappear, like corns in wet weather, whenever he is
+not in good form physically. That should not lead to discouragement;
+persistence will bring success.
+
+As I have already said, singers with disabled voices like best to try
+"magic cures"; and there are teachers and pupils who boast of having
+effected such magic cures in a few weeks or hours.
+
+_Of them I give warning!_ and _equally_, of unprincipled physicians
+who daub around in the larynx, burn it, cut it, and make everything
+worse instead of better.
+
+I cannot comprehend why singers do not unite to brand such people
+publicly and put an end to their doings once for all.
+
+There is no other remedy than a slow, very careful study of the
+_causes_ of the trouble, which in almost all cases consist in lack of
+control of the stream of breath through the vocal cords, and in
+disregard of the head tones, that is, of the overtones; as well as in
+forcing the pitch and power of the tone upon a wrong resonating point
+of the palate, and in constricting the throat muscles. In these points
+almost invariably are all mistakes to be looked for; and in the
+recognition of them the proper means for correcting them are already
+indicated.
+
+The cure is difficult and tedious. It needs an endless patience on the
+part of the sufferer as well as of the physician--that is, of the
+pupil and the _singing teacher_ (the only proper physician for this
+disease)--because the nerves of the head are already sufficiently
+unstrung through the consciousness of their incapacity; yet they
+should be able to act easily and without effort in producing the head
+tones.
+
+The repairing of a voice requires the greatest sympathetic
+appreciation and circumspection on the part of the teacher, who should
+always inspire the pupil with courage; and on the part of the pupil,
+all his tranquillity, nervous strength, and patience, in order to
+reach the desired goal.
+
+_Where there is a will there is a way!_
+
+
+
+
+SECTION XXII
+
+THE TONGUE
+
+
+Since it is the function of the tongue to conduct the column of breath
+above the larynx to the resonance chambers, too much attention cannot
+be given to it and its position, in speaking as well as in singing. If
+it lies too high or too low, it may, by constricting the breath,
+produce serious changes in the tone, making it pinched or even
+shutting it off entirely.
+
+It has an extremely delicate and difficult task to perform. It must be
+in such a position as not to press upon the larynx. Tongue and larynx
+must keep out of each other's way, although they always work in
+coöperation; but one must not hamper the other, and when one can
+withdraw no farther out of the way, the other must take it upon
+itself to do so. For this reason the back of the tongue must be raised
+high, the larynx stand low.
+
+The tongue must generally form a furrow. With the lowest tones it lies
+relatively flattest, the tip _always_ against and beneath the front
+teeth, so that it can rise in the middle.
+
+As soon as the furrow is formed, the mass of the tongue is put out of
+the way, since it stands high on both sides. It is almost impossible
+to make drawings of this; it can best be seen in the mirror. As soon
+as the larynx is low enough and the tongue set elastically against the
+palate and drawn up behind (see plate _a_), the furrow is formed of
+itself. In pronouncing the vowel _ah_ (which must always be mixed with
+_[=oo]_ and _o_), it is a good idea to think of yawning.
+
+The furrow must be formed in order to allow the breath to resonate
+against the palate beneath the nose, especially in the middle range;
+that is, what a bass and a baritone (whose highest range is not now
+under consideration) would call their high range, all other voices
+their middle.
+
+Without the furrow in the tongue, no tone is perfect in its resonance,
+none can make full use of it. The only exception is the very highest
+head and falsetto tones, which are without any palatal resonance and
+have their place solely in the head cavities. Strong and yet delicate,
+it must be able to fit any letter of the alphabet; that is, help form
+its sound. It must be of the greatest sensitiveness in adapting itself
+to every tonal vibration, it must assist every change of tone and
+letter as quick as a flash and with unerring accuracy; without
+changing its position too soon or remaining too long in it, in the
+highest range it must be able almost to speak out in the air.
+
+With all its strength and firmness this furrow must be of the utmost
+sensitiveness toward the breath, which, as I have often said, must not
+be subjected to the least pressure above the larynx or in the larynx
+itself. Pressure must be limited to the abdominal and chest muscles;
+and this might better be called stress than pressure.
+
+Without hindrance the column of breath, at its upper end like
+diverging rays of light, must fill and expand all the mucous membranes
+with its vibrations equally, diffuse itself through the resonance
+chambers and penetrate the cavities of the head.
+
+When the back of the tongue can rise no higher, the larynx must be
+lowered. This often happens in the highest ranges, and one needs only
+to mingle an _oo_ in the vowel to be sung, which must, however, be
+sounded not forward in the mouth but _behind the nose_. When the
+larynx must stand very low, the tongue naturally must not be _too_
+high, else it would affect the position of the larynx. The mass of the
+tongue must then be disposed of elsewhere; that is, by the formation
+of a furrow (see plate). One must learn to feel and hear it. To keep
+the larynx, the back of the tongue, and the palate always in
+readiness to offer mutual assistance, must become a habit. I feel the
+interplay of tongue and larynx in my own case as shown in the plates.
+
+As soon as we have the tongue under control,--that is, have acquired
+the habit of forming a furrow,--we can use it confidently as a support
+for the breath and the tone, and for vowels.
+
+On its incurving back it holds firmly the vowels; with its tip, many
+of the consonants. With all its elasticity, it must be trained to
+great strength and endurance.
+
+I, for instance, after every syllable, at once jerk my tongue with
+tremendous power back to its normal position in singing; that is, with
+its tip below the front teeth and the base raised [Illustration]. That
+goes on constantly, as quick as a flash. At the same time my larynx
+takes such a position that the tongue cannot interfere with it, that
+is, press upon it. By quickly raising the tongue toward the back, it
+is taken out of the way of the larynx, and the mass of the tongue is
+cleared from the throat. In the middle range, where the tongue or the
+larynx might be too high or too low, the furrow, which is of so much
+importance, is formed, in order to lead the vocalized breath first
+against the front of the palate beneath the nose, then slowly along
+the nose and behind it. Then when the highest point (the peak, which
+is extremely extensible) is reached, the pillars of the fauces are
+lowered, in order to leave the way for the head tones to the head
+cavities entirely free. In doing this, the sides of the tongue are
+raised high. Every tongue should occupy only so much space as it can
+occupy without being a hindrance to the tone.
+
+The bad, bad tongue! one is too thick, another too thin, a third too
+long, a fourth much too short.
+
+_Ladies and gentlemen, these are nothing but the excuses of the
+lazy!_
+
+[Illustration: Red lines denote that with the inspiration of breath:
+I, the diaphragm is sensibly stretched backward; II, enlarges the
+capacity of the chest by the drawing down of its floor; III, and so
+forms the supply chamber for the breath; IV, indicates the pressure of
+the breath against the chest tension muscles; V, the attack.]
+
+
+
+
+SECTION XXIII
+
+PREPARATION FOR SINGING
+
+
+No one can sing properly without first preparing for it, mentally and
+physically, with all the organs concerned in the production of the
+voice.
+
+We have in this to perform three functions, simultaneously:--
+
+_First_, to draw breath quietly, not too deeply; to force the breath
+against the chest and hold it there firmly till the upward and outward
+streaming--that is, singing--begins. (See plate, The Path of the
+Breath.)
+
+_Second_, to raise the soft palate at the same time toward the nose,
+so that the breath remains stationary until the singing begins.
+
+_Third_, to jerk the tongue backward at the same time, its back being
+thus raised, and elastic, ready to meet all the wishes of the
+singer,--that is, the needs of the larynx. The larynx must not be
+pressed either too low or too high, but must work freely. The breath
+is enabled to stream forth from it like a column, whose form is
+moulded above the larynx by the base of the tongue.
+
+When these three functions have been performed, all is ready. Now the
+pitch of the tone is to be considered, as the singing begins.
+
+The consummation (Höhepunkt) of the tone, above the palate, gives the
+point of attack itself, under the palate.
+
+Now further care must be given that the point of attack on the
+palate--that is, the focal point of the breath--be not subjected to
+pressure, and that the entire supply of breath be not expended upon
+the palatal resonance.
+
+For this the palate must remain elastic, for it has a twofold duty to
+perform. It must not only furnish resistance for the focal point of
+the breath,--except in the very highest head tones,--around which it
+can be diffused; the same resistance, which stands against the stream
+of breath from below, must also afford a firm, pliant, and elastic
+floor for the overtones, which, soaring above the palate, shift, as is
+needed, to or above the hard and soft palate, or are divided in the
+nose, forehead, and head cavities. It can easily be seen how any
+pressure in singing can be dangerous everywhere, and how careful the
+singer is forced to be to avoid such mistakes.
+
+
+
+
+SECTION XXIV
+
+THE POSITION OF THE MOUTH (CONTRACTION OF THE MUSCLES OF SPEECH)
+
+
+What must my sensations be with the muscles of speech? How shall I
+control them?
+
+The best position of the mouth, the means of securing the proper use
+of the muscles of speech and of the vocal organs, is established by
+pronouncing the vowel _[=a]_, not too sharply, in the middle range of
+the voice, and trying to retain the position of the muscles after the
+sound has ceased.
+
+This cannot be done without a _smiling_ position of the mouth,
+consequently with a strong contraction of the muscles of the mouth,
+tongue, and throat, which can be felt to be drawn up as far as the
+ears.
+
+In doing so the tongue--as far as the tip--lies of a pretty nearly
+even height to the back [Illustration], the soft palate soars without
+arching, but rather somewhat depressed over it.
+
+In pronouncing the vowels _[=a]_ and _[=e]_, the bright vowels, the
+full stream of the breath, in the given position, can only partly pass
+between the tongue and the palate. The other part is forced--unless
+the larynx stands too high and can choke it off--above the palate into
+the nasal cavities, to seek its opportunity for resonance.
+
+The path for _[=a]_ and _[=e]_ above the palate is worthy of all
+attention as a place for the overtones of the middle voice. If the
+soft palate, in the lower middle tones, is forced too far toward the
+hard palate, the covered tones are without vibrancy. One must needs
+secure the help of the nose especially, when the palate is sunk
+beneath the nose, by inflating the nostrils and letting air stream in
+and out of them.
+
+I repeat the warning, not to force several tones upon the same
+resonating point, but to see that upon each tone the form necessary
+for succeeding tones is prepared. Neglect of this will sooner or later
+be paid for dearly.
+
+Notwithstanding the strong muscular contraction that the vocal organs
+must undergo in pronouncing the vowel _[=a]_, the breath must be able
+to flow gently and without hindrance through its form, in order
+completely to fill up its resonance chambers. Again, and always,
+attention must be given that in singing, and in speaking as well,
+nothing shall be cramped or held tense, except the pressure of the
+breath against the chest. It is of the utmost importance to maintain
+this position for _all_ vowels, with the least possible perceptible
+modifications.
+
+How can this be done? _A_ and _e_ are bright vowels, must be sung with
+a pleasant, almost smiling, position of the mouth. _U_ and _o_, on the
+contrary, are dark vowels, for which the lips must be drawn into a
+sort of spout. Look at the position of the throat in these vowels: (1)
+as they are usually sung and spoken; (2) as I feel it, in singing, as
+I sing them, and as they must be sung and felt.
+
+
+
+
+SECTION XXV
+
+CONNECTION OF VOWELS
+
+
+How do I connect them with each other? If I wish to connect closely
+together two vowels that lie near to or far from each other, I must
+first establish the muscular contractions for _[=a]_, and introduce
+between the two vowels, whether they lie near together or far apart, a
+very well-defined _y_. Then (supposing, for instance, that I want to
+connect _[=a]_ and _[=e]_) I must join the _[=a]_ closely to the _y_,
+and the _y_ closely to the _[=e]_, so that there is not the least
+resonating space between the two that is not filled during the changes
+in the position of the organs, however carefully this is undertaken.
+There must be no empty space, no useless escape of breath, between any
+two of the sounds.
+
+[Illustration:
+
+oo [=e] o [=a] ah
+
+oo o [=e] y ah y [=a] y]
+
+[Illustration:
+
+Bad. oo [=e] o [=a] ah
+
+Good. oo o [=e] ah [=a]]
+
+[Illustration:
+
+Wrong. oo [=e] o [=a] ah
+
+Right. oo o [=e] ah [=a]]
+
+At first only two, then three and four, and then all the vowels in
+succession must be so practised:--
+
+_A-ye, a-ye-yu, a-ye-yoo-yü, a-ye-yo-yü-yu-ye-yah._
+
+But there must be never more than so much breath at hand as is needed
+to make the vowel and the tone perfect. The more closely the vowels
+are connected with the help of the _y_, the less breath is emitted
+from the mouth unused, the more intimate is the connection of tone,
+and the less noticeable are the changes of the position of the organs
+in relation to each other.
+
+When I pass from _y[=a]-y[=e]_ to _yoo_, I am compelled to develop
+very strongly the muscular contraction of the lips, which are formed
+into a long projecting spout; and this movement cannot be sufficiently
+exaggerated. With every new _y_ I must produce renewed muscular
+contractions of the vocal organs, which gradually, through continuous
+practice, are trained to become almost like the finest, most pliable
+steel, upon which the fullest reliance may be placed. From _yoo_ it
+is best to go to _yü_, that lies still farther forward and requires of
+the lips an iron firmness; then to _yo_, touching slightly on the _e_
+that lies above the _o_; then return to _y[=a]_, and not till then
+going to _ye-ah_, which must then feel thus:--
+
+    e
+oo-o ah-[=a]
+    y
+
+The _y_ is taken under the _ah_, that the word may not slide under;
+for usually the thought of _ah_ relaxes all the organs: the tongue
+lies flat, the larynx becomes unsteady, is without definite position,
+and the palate is not arched and is without firmness. In this way _ah_
+becomes the most colorless and empty vowel of the whole list.
+
+With every change of vowel, or of any other letter, there are changes
+in the position of the organs, since tongue, palate, and larynx must
+take different positions for different sounds.
+
+With _[=a]_ and _[=e]_ the larynx stands higher, the palate is sunk,
+or in its normal position.
+
+With _oo_, _o_, and _ah_ the larynx stands low, the palate is arched.
+
+With _a_, _e_, and _ah_ the lips are drawn back.
+
+With _oo_, _o_, _ü_, and _ö_ they are extended far forward.
+
+The auxiliary sound _y_ connects them all with each other, so that the
+transitions are made quite imperceptibly. Since it is pronounced with
+the tongue drawn high against the palate, it prevents the base of the
+tongue from falling down again.
+
+This should be practised very slowly, that the sensations may be
+clearly discerned, and that no vibration that gives the vowel its
+pitch and duration may escape attention.
+
+The muscular contraction described comprises the chief functions of
+the vocal organs, and is as necessary for singing as the breath is for
+the tone. Year in and year out every singer and pupil must practise it
+in daily exercises as much as possible, on every tone of the vocal
+compass.
+
+In the lowest as well as in the highest range the sharpness of the
+_a_ is lost, as well as the clear definition of all single vowels. _A_
+should be mingled with _oo_, _ah_, and _e_. In the highest range, the
+vowels are merged in each other, because then the principal thing is
+not the vowel, but the high sound.
+
+Even the _thought_ of _[=a]_ and _[=e]_, the latter especially, raises
+the pitch of the tone. The explanation of this is that _[=a]_ and
+_[=e]_ possess sympathetic sounds above the palate that lead the
+breath to the resonance of the head cavities.
+
+For this reason tenors often, in high notes, resort to the device of
+changing words with dark vowels to words with the bright vowel _e_.
+They could attain the same end, without changing the whole word, by
+simply _thinking_ of an _e_.
+
+[Illustration: Pronounce in English [=a] [=e] üoo oah[=e]]
+
+Without over-exertion, the singer can practise the exercises given
+above twenty times a day, in periods of ten to fifteen minutes each,
+and will soon appreciate the advantage of the muscular strengthening
+they give. They make the voice fresh, not weary, as doubtless many
+will suppose.
+
+What, then, can be expected of an untrained organ? Nothing!
+
+Without daily vocal gymnastics no power of endurance in the muscles
+can be gained. They must be so strong that a great operatic rôle can
+be repeated ten times in succession, in order that the singer may
+become able to endure the strain of singing in opera houses, in great
+auditoriums, and make himself heard above a great orchestra, without
+suffering for it.
+
+When I, for instance, was learning the part of _Isolde_, I could
+without weariness sing the first act alone six times in succession,
+with expression, action, and a full voice. That was my practice with
+all my rôles. After I had rehearsed a rôle a thousand times in my own
+room, I would go into the empty theatre and rehearse single scenes, as
+well as the whole opera, for hours at a time. That gave me the
+certainty of being mistress of my resonances down to the last note;
+and very often I felt able to begin it all over again. So must it be,
+if one wishes to accomplish anything worth while.
+
+Another end also is attained by the same exercise,--the connection,
+not only of the vowels, but of all letters, syllables, words, and
+phrases. By this exercise the form for the breath, tone, and word, in
+which all the organs are adjusted to each other with perfect
+elasticity, is gradually established. Slowly but surely it assures
+greatest endurance in all the organs concerned in speaking and
+singing, the inseparable connection of the palatal resonance with the
+resonance of the head cavities. In this way is gained perfection in
+the art of singing, which is based, not on chance, but on knowledge;
+and this slow but sure way is the only way to gain it.
+
+By the above-described method all other alphabetical sounds can be
+connected, and exercises can be invented to use with it, which are
+best adapted to correct the mistakes of pupils, at first on one, then
+step by step on two and three connected tones, etc.
+
+At the same time it is necessary to learn to move the tongue freely,
+and with the utmost quickness, by jerking it back, after pronouncing
+consonants, as quick as a flash, into the position in which it
+conducts the breath to the resonating chambers for the vowels. With
+all these movements is connected the power of elastically contracting
+and relaxing the muscles.
+
+
+
+
+SECTION XXVI
+
+THE LIPS
+
+
+Of special importance for the tone and the word are the movements of
+the lips, which are so widely different in the bright and in the dark
+vowels. These movements cannot be too much exaggerated in practising.
+The same strength and elasticity to which we have to train the muscles
+of the throat and tongue must be imparted to the lips, which must be
+as of iron. Upon their coöperation much of the life of the tone
+depends, and it can be used in many shadings, as soon as one is able
+to exert their power consciously and under the control of the will.
+
+Every vowel, every word, every tone, can be colored as by magic in all
+sorts of ways by the well-controlled play of the lips; can, as it
+were, be imbued with life, as the lips open or close more or less in
+different positions. The lips are the final cup-shaped resonators
+through which the tone has to pass. They can retard it or let it
+escape, can color it bright or dark, and exert a ceaseless and ever
+varying influence upon it long before it ceases and up to its very
+end.
+
+No attempt should be made to use the play of the lips until complete
+mastery of the absolutely even, perfect tone, and of the muscular
+powers, has been acquired. The effect must be produced as a result of
+power and practice; and should not be practised as an effect _per
+se_.
+
+
+
+
+SECTION XXVII
+
+THE VOWEL-SOUND _AH_
+
+
+There is much discussion as to whether _ah_, _oo_, or some other vowel
+is the one best adapted for general practice. In former times practice
+was entirely on the vowel-sound _ah_. The old Italians taught it; my
+mother was trained so, and never allowed her pupils to use any other
+vowel during the first months of their instruction. Later, to be sure,
+every letter, every word, was practised and improved continually, till
+it was correct, and had impressed itself upon the memory, as well as
+the ear, of the pupil for all time.
+
+I explain the matter thus:--
+
+The singer's mouth should always make an agreeable impression. Faces
+that are forever grinning or showing fish mouths are disgusting and
+wrong.
+
+The pleasing expression of the mouth requires the muscular
+contractions that form the bright vowel _ah_.
+
+Most people who are not accustomed to using their vocal resonance
+pronounce the _ah_ quite flat, as if it were the vowel-sound lying
+lowest. If it is pronounced with the position of the mouth belonging
+to the bright vowels, it has to seek its resonance, in speaking as
+well as in singing, in the same place as the dark vowels, on the
+high-arched palate. To permit this, it must be mingled with _oo_. The
+furrows in the tongue must also be formed, just as with _oo_ and _o_,
+only special attention must be given that the back of the tongue does
+not fall, but remains high, as in pronouncing _[=a]_. In this way _ah_
+comes to lie between _oo-o'ah'y[=a]_, and forms at the same time the
+connection between the bright and the dark vowels, and the reverse.
+
+For this reason it was proper that _ah_ should be preferred as the
+practice vowel, as soon as it was placed properly between the two
+extremes, and had satisfied all demands. I prefer to teach it, because
+its use makes all mistakes most clearly recognizable. It is the most
+difficult vowel. If it is well pronounced, or sung, it produces the
+necessary muscular contractions with a pleasing expression of the
+mouth, and makes certain a fine tone color by its connection with _oo_
+and _o_. If the _ah_ is equally well formed in all ranges of the
+voice, a chief difficulty is mastered.
+
+Those who have been badly taught, or have fallen into bad ways, should
+practise the vocal exercise I have given above, with _ya-ye-yah_,
+etc., slowly, listening to themselves carefully. Good results cannot
+fail; it is an infallible means of improvement.
+
+Italians who sing well never speak or sing the vowel sound _ah_
+otherwise than mixed, and only the neglect of this mixture could have
+brought about the decadence of the Italian teaching of song. In
+Germany no attention is paid to it. The _ah_, as sung generally by
+most Italians of the present day, quite flat, sounds commonplace,
+almost like an affront. It can range itself, that is connect itself,
+with no other vowel, makes all vocal connection impossible, evolves
+very ugly registers; and, lying low in the throat, summons forth no
+palatal resonance. The power of contraction of the muscles of speech
+is insufficient, and this insufficiency misleads the singer to
+constrict the throat muscles, which are not trained to the endurance
+of it; thereby further progress is made impossible. In the course of
+time the tone becomes flat at the transitions. The fatal tremolo is
+almost always the result of this manner of singing.
+
+Try to sing a scale upward on _ah_, placing the tongue and muscles of
+speech at the same time on _[=a]_, and you will be surprised at the
+agreeable effect. Even the thought of it alone is often enough,
+because the tongue involuntarily takes the position of its own
+accord.
+
+I remember very well how Mme. Désirée Artot-Padilla, who had a low
+mezzo-soprano voice, used to toss off great coloratura pieces,
+beginning on the vowel-sound _ah_, and then going up and down on _a_,
+_ee_, _aüoah_. At the time I could not understand why she did it; now
+I know perfectly,--because it was easier for her. The breath is
+impelled against the cavities of the head, the head tones are set into
+action.
+
+Behind the _a_ position there must be as much room provided as is
+needed for all the vowels, with such modifications as each one
+requires for itself. The matter of chief importance is the position of
+the tongue _in_ the throat, that it shall not be in the way of the
+larynx, which must be able to move up and down, even though very
+slightly, without hindrance.
+
+All vowels must be able to flow into each other; the singer must be
+able to pass from one to another without perceptible alteration, and
+back again.
+
+
+
+
+SECTION XXVIII
+
+ITALIAN AND GERMAN
+
+
+How easy it is for the Italians, who have by nature, through the
+characteristics of their native language, all these things which
+others must gain by long years of practice! A single syllable often
+unites three vowels; for instance, "tuoi" (tuoy[=e]), "miei"
+(myeay[=e]), "muoja," etc.
+
+The Italians mingle all their vowels. They rub them into and color
+them with each other. This includes a great portion of the art of
+song, which in every language, with due regard to its peculiar
+characteristics, must be learned by practice.
+
+To give only a single example of the difficulty of the German words,
+with the everlasting consonant endings to the syllables, take the
+recitative at the entrance of Norma:--
+
+"Wer lässt hier Aufruhrstimme_n_, Kriegsruf ertöne_n_, wollt Ihr die
+Götter zwinge_n_, Eurem Wahnwitz zu fröhne_n_? Wer wagt vermesse_n_,
+gleich der Propheti_n_ der Zukunft Nacht zu lichte_n_, wollt Ihr der
+Götter Pla_n_ vorschnell vernichte_n_? Nicht Menschenkraft Könne_n_
+die Wirre_n_ dieses Landes schlichte_n_."
+
+Twelve endings on _n_!
+
+"Sediziosi voci, voci di guerra, avvi [Transcriber's Note: corrected
+"avoi" in original] chi alzar si attenta presso all'ara del Dio! V'ha
+chi presume dettar responsi alla vegente Norma, e di Roma affrettar il
+fato arcano. Ei non dipende, no, non dipende da potere umano!"
+
+From the Italians we can learn the connection of the vowels, from the
+French the use of the nasal tone. The Germans surpass the others in
+their power of expressiveness. But he who would have the right to call
+himself an artist must unite all these things; the _bel canto_, that
+is, beautiful--I might say good--singing, and all the means of
+expression which we cultivated people need to interpret master works
+of great minds, should afford the public ennobling pleasure.
+
+A tone full of life is to be produced only by the skilful mixture of
+the vowels, that is, the unceasing leaning of one upon the others,
+without, however, affecting any of its characteristics. This means, in
+reality, only the complete use of the resonance of the breath, since
+the mixture of the vowels can be obtained only through the elastic
+conjunction of the organs and the varying division of the stream of
+breath toward the palatal resonance, or that of the cavities of the
+head, or the equalization of the two.
+
+The larynx must rise and descend unimpeded by the tongue, soft palate
+and pillars of the fauces rise and sink, the soft palate always able
+more or less to press close to the hard. Strong and elastic
+contractions imply very pliable and circumspect relaxation of the
+same.
+
+I think that the feeling I have of the extension of my throat comes
+from the very powerful yet very elastic contraction of my muscles,
+which, though feeling always in a state of relaxability, appear to me
+like flexible steel, of which I can demand everything,--because never
+too much,--and which I exercise daily. Even in the entr'actes of grand
+operas I go through with such exercises; for they refresh instead of
+exhausting me.
+
+The unconstrained coöperation of all the organs, as well as their
+individual functions, must go on elastically without any pressure or
+cramped action. Their interplay must be powerful yet supple, that the
+breath which produces the tone may be diffused as it flows from one to
+another of the manifold and complicated organs (such as the ventricles
+of Morgagni), supporting itself on others, being caught in still
+others, and finding all in such a state of readiness as is required in
+each range for each tone. Everything must be combined in the right way
+as a matter of habit.
+
+The voice is equalized by the proper ramification of the breath and
+the proper connection of the different resonances.
+
+The tone is colored by the proper mixture of vowels; _oo_, _o_, and
+_ah_ demanding more palatal resonance and a lower position of the
+larynx, _a_ and _e_ more resonance of the head cavities and a higher
+position of the larynx. With _oo_, _o_, _ü_, and _ah_ the palate is
+arched higher (the tongue forming a furrow) than with _[=a]_, _[=e]_,
+and _ü_, where the tongue lies high and flat.
+
+There are singers who place the larynx too low, and, arching the
+palate too high, sing too much toward _oo_. Such voices sound very
+dark, perhaps even hollow; they lack the interposition of the
+_[=a]_,--that is, the larynx is placed too low.
+
+On the other hand, there are others who press it upward too high;
+their _a_ position is a permanent one. Such voices are marked by a
+very bright, sharp quality of tone, often like a goat's bleating.
+
+Both are alike wrong and disagreeable. The proper medium between them
+must be gained by sensitive training of the ear, and a taste formed by
+the teacher through examples drawn from his own singing and that of
+others.
+
+If we wish to give a noble expression to the tone and the word, we
+must mingle its vocal sound, if it is not so, with _o_ or _oo_. If we
+wish to give the word merely an agreeable expression, we mingle it
+with _ah_, _[=a]_, and _[=e]_. That is, we must use all the qualities
+of tonal resonance, and thus produce colors which shall benefit the
+tone and thereby the word and its expression.
+
+Thus a single tone may be taken or sung in many different ways. In
+every varying connection, consequently, the singer must be able to
+change it according to the expression desired. But as soon as it is a
+question of a _musical phrase_, in which several tones or words, or
+tones alone, are connected, the law of progression must remain in
+force; expression must be sacrificed, partly at least, to the beauty
+of the musical passage.
+
+If he is skilful enough, the singer can impart a certain expression of
+feeling to even the most superficial phrases and coloratura passages.
+Thus, in the coloratura passages of Mozart's arias, I have always
+sought to gain expressiveness by _crescendi_, choice of significant
+points for breathing, and breaking off of phrases. I have been
+especially successful with this in the _Entführung_, introducing a
+tone of lament into the first aria, a heroic dignity into the second,
+through the coloratura passages. Without exaggerating petty details,
+the artist must exploit all the means of expression that he is
+justified in using.
+
+
+
+
+SECTION XXIX
+
+AUXILIARY VOWELS
+
+
+Like the auxiliary verbs "will" and "have," _[=a]_, _[=e]_, and _oo_
+are auxiliary vowels, of whose aid we are constantly compelled to
+avail ourselves. It will perhaps sound exaggerated when I present an
+example of this, but as a matter of fact pronunciation is consummated
+in this way; only, it must not become noticeable. The method seems
+singular, but its object is to prevent the leaving of any empty
+resonance space, and to obviate any interruptions that could affect
+the perfection of the tone.
+
+For example, when I wish to sing the word "Fräulein," I must first,
+and before all else, think of the pitch of the tone, before I attack
+the _f_. With the _f_, the tone must be there already, _before_ I have
+pronounced it; to pass from the _f_ to the _r_ I must summon to my
+aid the auxiliary vowel _oo_, in order to prevent the formation of any
+unvocalized interstices in the sound. The _r_ must not now drop off,
+but must in turn be joined to the _oo_, while the tongue should not
+drop down behind, [Illustration] but should complete the vibrations
+thus, [Illustration] in a straight line. (See plate.)
+
+[Illustration]
+
+It is very interesting to note how much a word can gain or lose in
+fulness and beauty of tone. Without the use of auxiliary vowels no
+connection of the resonance in words can be effected; there is then no
+beautiful tone in singing, only a kind of hacking. Since it must be
+quite imperceptible, the use of auxiliary vowels must be very
+artistically managed, and is best practised in the beginning very
+slowly on single tones and words, then proceeding with great care to
+two tones, two syllables, and so on. In this way the pupil learns to
+_hear_. But he must learn to hear very slowly and for a long time,
+until there is no failure of vibration in the tone and word, and it is
+all so impressed upon his memory that it can never be lost. The
+auxiliary vowels must always be present, but the listener should be
+able to hear, from the assistance of the _oo_, only the warmth and
+nobility of the tone, from the _a_ and _e_ only the carrying power and
+brilliancy of it.
+
+
+
+
+SECTION XXX
+
+RESONANT CONSONANTS
+
+
+_K_, _l_, _m_, _n_, _p_, _s_, and _r_ at the end of a word or syllable
+must be made resonant by joining to the end of the word or syllable a
+rather audible _[)e]_ (_eh_); for instance, Wandel^e, Gretel^e,
+etc.
+
+A thing that no one teaches any longer, or knows or is able to do, a
+thing that only Betz and I knew, and with me will probably disappear
+entirely, is the dividing and ending of syllables that must be
+effected under certain conditions. It may have originated with the
+Italian school.
+
+I was taught it especially upon double consonants. When two come
+together, they must be divided; the first, as in Him-mel, being
+sounded dull, and without resonance, the syllable and tone being kept
+as nasal as possible, the lips closed, and a pause being made between
+the two syllables; not till then is the second syllable pronounced,
+with a new formation of the second consonant.
+
+And this is done, not only in case of a doubling of one consonant, but
+whenever two consonants come together to close the syllable; for
+instance, win-ter, dring-en, kling-en, bind-en; in these the nasal
+sound plays a specially important part.
+
+The tediousness of singing without proper separation of the syllables
+is not appreciated till it has been learned how to divide the
+consonants. The nasal close of itself brings a new color into the
+singing, which must be taken into account; and moreover, the word is
+much more clearly intelligible, especially in large auditoriums, where
+an appreciable length of time is needed for it to reach the listener.
+By the nasal close, also, an uninterrupted connection is assured
+between the consonant and the tone, even if the latter has to cease,
+apparently, for an instant.
+
+I teach all my pupils thus. But since most of them consider it
+something unheard of to be forced to pronounce in this way, they very
+rarely bring it to the artistic perfection which alone can make it
+effective. Except from Betz, I have never heard it from any one. After
+me no one will teach it any more. I shall probably be the last one. A
+pity!
+
+
+
+
+SECTION XXXI
+
+PRACTICAL EXERCISES
+
+
+The practical study of singing is best begun with single sustained
+tones, and with preparation on the sound of _ah_ alone, mingled with
+_o_ and _oo_. A position as if one were about to yawn helps the tongue
+to lie in the right place.
+
+In order not to weary young voices too much, it is best to begin in
+the middle range, going upward first, by semitones, and then, starting
+again with the same tone, going downward. All other exercises begin in
+the lower range and go upward.
+
+The pupil must first be able to make a single tone good, and judge it
+correctly, before he should be allowed to proceed to a second. Later,
+single syllables or words can be used as exercises for this.
+
+The position of the mouth and tongue must be watched in the mirror.
+The vowel _ah_ must be mingled with _o_ and _oo_, and care must be
+taken that the breath is forced strongly against the chest, and felt
+attacking here and on the palate at the same time. Begin _piano_, make
+a long _crescendo_, and gradually return and end on a well-controlled
+_piano_. My feeling at the attack is as shown in the plate.
+
+At the same instant that I force the breath against the chest, I place
+the tone _under_ its highest point on the palate, and let the
+overtones soar above the palate--the two united in one thought. Only
+in the lowest range can the overtones, and in the highest range the
+undertones (resonance of the head cavities and of the palate), be
+dispensed with.
+
+With me the throat never comes into consideration; I feel absolutely
+nothing of it, at most only the breath gently streaming through it. A
+tone should never be forced; _never press_ the breath against the
+resonating chambers, but only against the chest; and NEVER hold it
+back. The organs should not be cramped, but should be allowed to
+perform their functions elastically.
+
+The contraction of the muscles should never exceed their power to
+relax. A tone must always be sung, whether strong or soft, with an
+easy, conscious power. Further, before all things, sing always with
+due regard to the pitch.
+
+In this way the control of the ear is exercised over the pitch,
+strength, and duration of the tone, and over the singer's strength and
+weakness, of which we are often forced to make a virtue. In short, one
+learns to recognize and to produce a perfect tone.
+
+[Illustration:
+
+Attack.
+
+Red lines denote that with the inspiration of breath: I, the diaphragm
+is sensibly stretched backward; II, enlarges the capacity of the chest
+by the drawing down of its floor; III, and so forms the supply chamber
+for the breath; IV, indicates the pressure of the breath against the
+chest tension muscles; V, the attack.]
+
+In all exercises go as low and as high as the voice will allow without
+straining, and always make little pauses to rest between them, even if
+you are not tired, in order to be all the fresher for the next one.
+With a certain amount of skill and steady purpose the voice increases
+its compass, and takes the proper range, easiest to it by nature.
+The pupil can see then how greatly the compass of a voice can be
+extended. For amateurs it is not necessary; but it is for every one
+who practises the profession of a singer in public.
+
+For a second exercise, sing connectedly two half-tones, slowly, on one
+or two vowels, bridging them with the auxiliary vowels and the _y_ as
+the support of the tongue, etc.
+
+Every tone must seek its best results from all the organs concerned in
+its production; must possess power, brilliancy, and mellowness in
+order to be able to produce, before leaving each tone, the propagation
+form for the next tone, ascending as well as descending, and make it
+certain.
+
+No exercise should be dropped till every vibration of every tone has
+clearly approved itself to the ear, not only of the teacher, but also
+of the pupil, as _perfect_.
+
+It takes a long time to reach the full consciousness of a tone. After
+it has passed the lips it must be diffused outside, before it can
+come to the consciousness of the listener as well as to that of the
+singer himself. So practise _singing_ slowly and _hearing_ slowly.
+
+
+
+
+SECTION XXXII
+
+THE GREAT SCALE
+
+
+This is the most necessary exercise for all kinds of voices. It was
+taught to my mother; she taught it to all her pupils and to us. But
+_I_ am probably the only one of them all who practises it faithfully!
+I do not trust the others. As a pupil one must practise it twice a
+day, as a professional singer at least once.
+
+[Music illustration]
+
+The breath must be well prepared, the expiration still better, for the
+duration of these five and four long tones is greater than would be
+supposed. The first tone must be attacked not too _piano_, and sung
+only so strongly as is necessary to reach the next one easily without
+further crescendo, while the propagation form for the next tone is
+produced, and the breath wisely husbanded till the end of the phrase.
+
+The first of each of the phrases ends nasally in the middle range, the
+second toward the forehead and the cavities of the head. The lowest
+tone must already be prepared to favor the resonance of the head
+cavities, by thinking of _[=a]_, consequently placing the larynx high
+and maintaining the resonating organs in a _very_ supple and elastic
+state. In the middle range, _ah_ is mingled particularly with _oo_,
+that the nose may be reached; further, the auxiliary vowel _e_ is
+added to it, which guides the tone to the head cavities. In descending
+the attack must be more concentrated, as the tone is slowly directed
+toward the nose on _oo_ or _o_, to the end of the figure.
+
+When _oo_, _a_, and _e_ are auxiliary vowels, they need not be plainly
+pronounced. (They form an exception in the diphthongs, "Trauuum,"
+"Leiiid," "Lauuune," "Feuyer," etc.) As auxiliary vowels they are only
+means to an end, a bridge, a connection from one thing to another.
+They can be taken anywhere with any other sound; and thence it may be
+seen how elastic the organs can be when they are skilfully managed.
+
+The chief object of the great scale is to secure the pliant, sustained
+use of the breath, precision in the preparation of the propagation
+form, the proper mixture of the vowels which aid in placing the organs
+in the right position for the tone, to be changed for every different
+tone, although imperceptibly; further, the intelligent use of the
+resonance of the palate and head cavities, especially the latter,
+whose tones, soaring above everything else, form the connection with
+the nasal quality for the whole scale.
+
+The scale must be practised without too strenuous exertion, but not
+without power, gradually extending over the entire compass of the
+voice; and that is, if it is to be perfect, over a compass of two
+octaves. These two octaves will have been covered, when, advancing the
+starting-point by semitones, the scale has been carried up through an
+entire octave. So much every voice can finally accomplish, even if the
+high notes must be very feeble.
+
+The great scale, properly elaborated in practice, accomplishes
+wonders: it equalizes the voice, makes it flexible and noble, gives
+strength to all weak places, operates to repair all faults and breaks
+that exist, and controls the voice to the very heart. Nothing escapes
+it.
+
+By it ability as well as inability is brought to light--something that
+is extremely unpleasant to those without ability. In my opinion it is
+the ideal exercise, but the most difficult one I know. By devoting
+forty minutes to it every day, a consciousness of certainty and
+strength will be gained that ten hours a day of any other exercise
+cannot give.
+
+This should be the chief test in all conservatories. If I were at the
+head of one, the pupils should be allowed for the first three years to
+sing at the examinations only _difficult_ exercises, like this great
+scale, before they should be allowed to think of singing a song or an
+aria, which I regard only as cloaks for incompetency.
+
+For teaching me this scale--this guardian angel of the voice--I cannot
+be thankful enough to my mother. In earlier years I used to like to
+express myself freely about it. There was a time when I imagined that
+it strained me. My mother often ended her warnings at my neglect of it
+with the words, "You will be very sorry for it!" And I was very sorry
+for it. At one time, when I was about to be subjected to great
+exertions, and did not practise it every day, but thought it was
+enough to sing coloratura fireworks, I soon became aware that my
+transition tones would no longer endure the strain, began easily to
+waver, or threatened even to become too flat. The realization of it
+was terrible! It cost me many, many years of the hardest and most
+careful study; and it finally brought me to realize the necessity of
+exercising the vocal organs continually, and in the proper way, if I
+wished always to be able to rely on them.
+
+Practice, and especially the practice of the great, slow scale, is the
+only cure for all injuries, and at the same time the most excellent
+means of fortification against all over-exertion. I sing it every day,
+often twice, even if I have to sing one of the greatest rôles in the
+evening. I can rely absolutely on its assistance.
+
+If I had imparted nothing else to my pupils but the ability to sing
+this one great exercise well, they would possess a capital fund of
+knowledge which must infallibly bring them a rich return on their
+voices. I often take fifty minutes to go through it only once, for I
+let no tone pass that is lacking in any degree in pitch, power, and
+duration, or in a single vibration of the propagation form.
+
+
+
+
+SECTION XXXIII
+
+VELOCITY
+
+
+Singers, male and female, who are lacking velocity and the power of
+trilling, seem to me like horses without tails. Both of these things
+belong to the art of song, and are inseparable from it. It is a matter
+of indifference whether the singer has to use them or not; he must be
+able to. The teacher who neither teaches nor can teach them to his
+pupils is a _bad teacher_; the pupil who, notwithstanding the urgent
+warnings of his teacher, neglects the exercises that can help him to
+acquire them, and fails to perfect himself in them, is a _bungler_.
+There is no excuse for it but lack of talent, or laziness; and neither
+has any place in the higher walks of art.
+
+To give the voice velocity, practise first slowly, then faster and
+faster, figures of five, six, seven, and eight notes, etc., upward
+and downward.
+
+If one has well mastered the great, slow scale, with the nasal
+connection, skill in singing rapid passages will be developed quite of
+itself, because they both rest on the same foundation, and without the
+preliminary practice can never be understood.
+
+Put the palate into the nasal position, the larynx upon _oe_; attack
+the lowest tone of the figure with the thought of the highest; force
+the breath, as it streams very vigorously forth from the larynx,
+toward the nose, but allow the head current entire freedom, without
+entirely doing away with the nasal quality; and then run up the scale
+with great firmness.
+
+In descending, keep the form of the highest tone, even if there should
+be eight to twelve tones in the passage, so that the scale slides
+down, not a pair of stairs, but a smooth track, the highest tone
+affording, as it were, a guarantee that on the way there shall be no
+impediment or sudden drop. The resonance form, kept firm and tense,
+must adapt itself with the utmost freedom to the thought of every
+tone, and with it, to the breath. The pressure of the breath against
+the chest must not be diminished, but must be unceasing.
+
+To me it is always as if the pitch of the highest tone were already
+contained in the lowest, so strongly concentrated upon the whole
+figure are my thoughts at the attack of a single tone. By means of
+_ah-e-[=a]_, larynx, tongue, and palatal position on the lowest tone
+are in such a position that the vibrations of breath for the highest
+tones are already finding admission into the head cavities, and as far
+as possible are in sympathetic vibration there.
+
+The higher the vocal figures go the more breath they need, the less
+can the breath and the organs be pressed. The higher they are, the
+more breath must stream forth from the epiglottis; therefore the
+_[=a]_ and the thought of _e_, which keep the passages to the head
+open. But because there is a limit to the scope of the movement of
+larynx and tongue, and they cannot rise higher and higher with a
+figure that often reaches to an immense height, the singer must resort
+to the aid of the auxiliary vowel _oo_, in order to lower the larynx
+and so make room for the breath:
+
+[Music illustration]
+
+A run or any other figure must never sound thus:
+
+[Music illustration]
+
+but must be nasally modified above, and tied; and because the breath
+must flow out unceasingly in a powerful stream from the vocal cords,
+an _h_ can only be put in beneath, which makes us sure of this
+powerful streaming out of the breath, and helps only the branch
+stream of breath into the cavities of the head. Often singers hold the
+breath, concentrated on the nasal form, firmly on the lowest tone of a
+figure, and, without interrupting this nasal form, or the head tones,
+that is, the breath vibrating in the head cavities, finish the figure
+alone. When this happens the muscular contractions of the throat,
+tongue, and palate are very strong.
+
+[Music illustration: L'oiselet. Chopin-Viardat]
+
+The turn, too, based on the consistent connection of the tonal figure
+with the nasal quality,--which is obtained by pronouncing the _oo_
+toward the nose,--and firmly held there, permits no interruption for
+an instant to the vowel sound.
+
+How often have I heard the _ha-ha-ha-haa_, etc.,--a wretched tumbling
+down of different tones, instead of a smooth decoration of the
+cantilena. Singers generally disregard it, because no one can do it
+any more, and yet even to-day it is of the greatest importance. (See
+_Tristan und Isolde_.)
+
+The situation is quite the same in regard to the appoggiatura. In
+this the resonance is made nasal and the flexibility of the
+larynx,--which, without changing the resonance, moves quickly up and
+down--accomplishes the task alone. Here, too, it can almost be
+imagined that the _thought_ alone is enough, for the connection
+of the two tones cannot be too close. But this must be practised, and
+done _consciously_.
+
+[Music illustration: Adelaide, by Beethoven
+
+A-bend-lüft-chen im zar-ten Lau-be flü-stern]
+
+[Transcriber's Note: Corrected "L'au-be" in original to "Lau-be"]
+
+
+
+
+SECTION XXXIV
+
+TRILL
+
+
+There still remains the trill, which is best practised in the
+beginning as follows:--
+
+[Music illustration]
+
+The breath is led very far back against the head cavities by the
+_[=a]_, the larynx kept as stiff as possible and placed high. Both
+tones are connected as closely, as heavily as possible, upward
+nasally, downward _on_ the larynx, for which the _y_, again, is
+admirably suited. They must be attacked as high as possible, and very
+strongly. The trill exercise must be practised almost as a scream.
+The upper note must always be strongly _accented_. The exercise is
+practised with an even strength, without decrescendo to the end; the
+breath streams out more and more strongly, uninterruptedly to the
+finish.
+
+Trill exercises must be performed with great energy, on the whole
+compass of the voice. They form an exception to the rule in so far
+that in them more is given to the throat to do--always, however, under
+the control of the chest--than in other exercises. That relates,
+however, to the muscles.
+
+The breath vibrates _above_ the larynx, but does not stick in it,
+consequently this is not dangerous.
+
+The exercise is practised first on two half, then on two whole, tones
+of the same key (as given above), advancing by semitones, twice a day
+on the entire compass of the voice. It is exhausting because it
+requires great energy; but for the same reason it gives strength.
+Practise it first as slowly and vigorously as the strength of the
+throat allows, then faster and faster, till one day the trill
+unexpectedly appears. With some energy and industry good results
+should be reached in from six to eight weeks, and the larynx should
+take on the habit of performing its function by itself. This function
+gradually becomes a habit, so that it seems as if only _one_ tone were
+attacked and held, and as if the second tone simply vibrated with it.
+As a matter of fact, the larynx will have been so practised in the
+minute upward and downward motion, that the singer is aware only of
+the vibrations of the breath that lie _above_ it, while he remains
+mindful all the time only of the pitch of the upper note.
+
+One has the feeling then as of singing or holding only the _lower_
+tone (which must be placed very high), while the upper one vibrates
+with it simply through the habitude of the accentuation. The union of
+the two then comes to the singer's consciousness as if he were
+singing the lower note somewhat too high, halfway toward the upper
+one. This is only an aural delusion, produced by the high vibrations.
+But the trill, when fully mastered, should always be begun, as in the
+exercise, on the _upper_ note.
+
+Every voice must master the trill, after a period, longer or shorter,
+of proper practice. Stiff, strong voices master it sooner than small,
+weak ones. I expended certainly ten years upon improving it, because
+as a young girl I had so very little strength, although my voice was
+very flexible in executing all sorts of rapid passages.
+
+To be able to use it anywhere, of course, requires a long time and
+much practice. For this reason it is a good plan to practise it on
+syllables with different vowels, such as can all be supported on
+_[=a]_, and on words, as soon as the understanding needed for this is
+in some degree assured.
+
+If the larynx has acquired the habit properly, the trill can be
+carried on into a _piano_ and _pianissimo_ and prolonged almost
+without end with _crescendi_ and _decrescendi_, as the old Italians
+used to do, and as _all Germans_ do who have learned anything.
+
+
+
+
+SECTION XXXV
+
+HOW TO HOLD ONE'S SELF WHEN PRACTISING
+
+
+In practising the singer should always stand, if possible, before a
+large mirror, in order to be able to watch himself closely. He should
+stand upright, quietly but not stiffly, and avoid everything that
+looks like restlessness. The hands should hang quietly, or rest
+lightly on something, without taking part in the interpretation of the
+expression. The first thing needed is to bring the body under control,
+that is, to remain quiet, so that later, in singing, the singer can do
+everything intentionally.
+
+The pupil must always stand in such a way that the teacher can watch
+his face, as well as his whole body. Continual movements of the
+fingers, hands, or feet are not permissible.
+
+The body must serve the singer's purposes freely and must acquire no
+bad habits. The singer's self-possession is reflected in a feeling of
+satisfaction on the part of the listener. The quieter the singer or
+artist, the more significant is every expression he gives; the fewer
+motions he makes, the more importance they have. So he can scarcely be
+quiet enough. Only there must be a certain accent of expression in
+this quietude, which cannot be represented by indifference. The
+quietude of the artist is a reassurance for the public, for it can
+come only from the certainty of power and the full command of his task
+through study and preparation and perfect knowledge of the work to be
+presented. An artist whose art is based on power cannot appear other
+than self-possessed and certain of himself. An evident uneasiness is
+always inartistic, and hence does not belong where art is to be
+embodied. All dependence upon tricks of habit creates nervousness and
+lack of flexibility.
+
+Therefore the singer must accustom himself to quietude in practising,
+and make his will master of his whole body, that later he may have
+free command of all his movements and means of expression.
+
+The constant playing of single tones or chords on the piano by the
+teacher during the lesson is wrong, and every pupil should request its
+discontinuance. The teacher can hear the pupil, but the latter cannot
+hear himself, when this is done; and yet it is of the utmost
+importance that he should learn to hear himself. I am almost driven
+distracted when teachers bring me their pupils, and drum on the piano
+as if possessed while they sing. Pupils have the same effect on me
+when they sit and play a dozen chords to one long note.
+
+Do they sit in the evening when they sing in a concert?
+
+Do they hear themselves, when they do this? Unfortunately, I cannot
+hear them.
+
+Poor pupils!
+
+It is enough for a musical person to strike a single note on the piano
+when he practises alone, or perhaps a common chord, after which the
+body and hands should return to their quiet natural position. Only in
+a standing posture can a free deep breath be drawn, and mind and body
+be properly prepared for the exercise or the song to follow.
+
+It is also well for pupils to form sentences with the proper number of
+syllables upon which to sing their exercises, so that even such
+exercises shall gradually gain a certain amount of expressiveness.
+Thus the exercises will form pictures which must be connected with the
+play of the features, as well as with an inner feeling, and thus will
+not become desultory and soulless and given over to indifference. Of
+course not till the mere tone itself is brought under complete
+control, and uncertainty is no longer possible, can the horizon of the
+pupil be thus widened without danger.
+
+Only when a scene requires that a vocal passage be sung kneeling or
+sitting must the singer practise it in his room long before the
+performance and at all rehearsals, in accordance with dramatic
+requirements of the situation. _Otherwise the singer should always_
+STAND. We must also look out for unaccustomed garments that may be
+required on the stage, and rehearse in them; for instance, hat,
+helmet, hood, cloak, etc. Without becoming accustomed to them by
+practice, the singer may easily make himself ridiculous on the stage.
+Hence comes the absurdity of a Lohengrin who cannot sing with a
+helmet, another who cannot with a shield, a third who cannot with
+gauntlets; a Wanderer who cannot with the big hat, another who cannot
+with the spear, a Jose who cannot with the helmet, etc. All these
+things must be practised before a mirror until the requirements of a
+part or its costume become a habit. To attain this, the singer must be
+completely master of his body and all his movements.
+
+It must be precisely the same with the voice. The singer must be quite
+independent of bad habits in order consciously to exact from it what
+the proper interpretation of the work to be performed requires.
+
+He should practise only so long as can be done without weariness.
+After every exercise he should take a rest, to be fresh for the next
+one. After the great scale he should rest _at least_ ten minutes; and
+these resting times must be observed as long as one sings.
+
+Long-continued exertion should not be exacted of the voice at first;
+even if the effects of it are not immediately felt, a damage is done
+in some way. In this matter pupils themselves are chiefly at fault,
+because they cannot get enough, as long as they take pleasure in it.
+
+For this reason it is insane folly to try to sing important rôles on
+the stage after one or two years of study; it may perhaps be endured
+for one or two years without evil results, but it can never be
+carried on indefinitely.
+
+Agents and managers commit a crime when they demand enormous exertions
+of such young singers. The rehearsals, which are held in abominably
+bad air, the late hours, the irregular life that is occasioned by
+rehearsals, the strain of standing around for five or six hours in a
+theatre,--all this is not for untrained young persons. No woman of
+less than twenty-four years should sing soubrette parts, none of less
+than twenty-eight years second parts, and none of less than
+thirty-five years dramatic parts; that is early enough. By that time
+proper preparation can be made, and in voice and person something can
+be offered worth while. And our fraternity must realize this sooner or
+later. In that way, too, they will learn more and be able to do more,
+and fewer sins will be committed against the art of song by the
+incompetent.
+
+
+
+
+SECTION XXXVI
+
+CONCERNING EXPRESSION
+
+
+When we wish to study a rôle or a song, we have first to master the
+intellectual content of the work. Not till we have made ourselves a
+clear picture of the whole should we proceed to elaborate the details,
+through which, however, the impression of the whole should never be
+allowed to suffer. The complete picture should always shine out
+through all. If it is too much broken into details, it becomes a thing
+of shreds and patches.
+
+So petty accessories must be avoided, that the larger outline of the
+whole picture shall not suffer. The complete picture must ever claim
+the chief interest; details should not distract attention from it. In
+art, subordination of the parts to the whole is an art of itself.
+Everything must be fitted to the larger lineaments that should
+characterize a masterpiece.
+
+A word is an idea; and not only the idea, but how that idea in color
+and connection is related to the whole, must be expressed. Therein is
+the fearsome magic that Wagner has exercised upon me and upon all
+others, that draws us to him and lets none escape its spell. That is
+why the elaboration of Wagner's creations seems so much worth while to
+the artist. Every elaboration of a work of art demands the sacrifice
+of some part of the artist's ego, for he must mingle the feelings set
+before him for portrayal with his own in his interpretation, and thus,
+so to speak, lay bare his very self. But since we must impersonate
+human beings, we may not spare ourselves, but throw ourselves into our
+task with the devotion of all our powers.
+
+
+
+
+SECTION XXXVII
+
+BEFORE THE PUBLIC
+
+
+In the wide reaches of the theatre it is needful to give an
+exaggeration to the expression, which in the concert hall, where the
+forms of society rule, must be entirely abandoned. And yet the picture
+must be presented by the artist to the public from the very first
+word, the very first note; the mood must be felt in advance. This
+depends partly upon the bearing of the singer and the expression of
+countenance he has during the prelude, whereby interest in what is
+coming is aroused and is directed upon the music as well as upon the
+poem.
+
+The picture is complete in itself; I have only to vivify its colors
+during the performance. Upon the management of the body, upon the
+electric current which should flow between the artist and the
+public,--a current that often streams forth at his very appearance,
+but often is not to be established at all,--depend the glow and
+effectiveness of the color which we impress upon our picture.
+
+No artist should be beguiled by this into giving forth more than
+artistic propriety permits, either to enhance the enthusiasm or to
+intensify the mood; for the electric connection cannot be forced.
+Often a tranquillizing feeling is very soon manifest on both sides,
+the effect of which is quite as great, even though less stimulating.
+Often, too, a calm, still understanding between singer and public
+exercises a fascination upon both, that can only be attained through a
+complete devotion to the task in hand, and renunciation of any attempt
+to gain noisy applause.
+
+To me it is a matter of indifference whether the public goes frantic
+or listens quietly and reflectively, for I give out only what I have
+undertaken to. If I have put my individuality, my powers, my love for
+the work, into a rôle or a song that is applauded by the public, I
+decline all thanks for it to myself personally, and consider the
+applause as belonging to the master whose work I am interpreting. If I
+have succeeded in making him intelligible to the public, the reward
+therefor is contained in that fact itself, and I ask for nothing more.
+
+Of what is implied in the intelligent interpretation of a work of art,
+as to talent and study, the public has no conception. Only they can
+understand it whose lives have been devoted to the same ideals. The
+lasting understanding of such, or even of a part of the public, is
+worth more than all the storm of applause that is given to so many.
+
+All the applause in the world cannot repay me for the sacrifices I
+have made for art, and no applause in the world is able to beguile me
+from the dissatisfaction I feel over the failure of a single tone or
+attempted expression.
+
+What seems to me bad, because I demand the greatest things of myself,
+is, to be sure, good enough for many others. I am, however, not of
+their opinion. In any matter relating to art, only the best is good
+enough for any public. If the public is uncultivated, one must make it
+know the best, must educate it, must teach it to understand the best.
+A naïve understanding is often most strongly exhibited by the
+uncultivated--that is, the unspoiled--public, and often is worth more
+than any cultivation. The cultivated public should be willing to
+accept only the best; it should ruthlessly condemn the bad and the
+mediocre.
+
+It is the artist's task, through offering his best and most carefully
+prepared achievements, to educate the public, to ennoble it; and he
+should carry out his mission without being influenced by bad standards
+of taste.
+
+The public, on the other hand, should consider art, not as a matter of
+fashion, or as an opportunity to display its clothes, but should feel
+it as a true and profound enjoyment, and do everything to second the
+artist's efforts.
+
+Arriving late at the opera or in the concert hall is a kind of bad
+manners which cannot be sufficiently censured. In the same way, going
+out before the end, at unfitting times, and the use of fans in such a
+way as to disturb artists and those sitting near, should be avoided by
+cultivated people. Artists who are concentrating their whole nature
+upon realizing an ideal, which they wish to interpret with the most
+perfect expression, should not be disturbed or disquieted.
+
+On the other hand, operatic performances, and concerts especially,
+should be limited in duration and in the number of pieces presented.
+It is better to offer the public a single symphony or a short list of
+songs or pianoforte pieces, which it can listen to with attention and
+really absorb, than to provide two or three hours of difficult music
+that neither the public can listen to with sufficient attention nor
+the artist perform with sufficient concentration.
+
+
+
+
+SECTION XXXVIII
+
+INTERPRETATION
+
+
+Let us return to the subject of Expression, and examine a song; for
+example,
+
+_"Der Nussbaum" by Schumann._
+
+The prevailing mood through it is one of quiet gayety, consequently
+one demanding a pleasant expression of countenance. The song picture
+must rustle by us like a fairy story. The picture shows us the
+fragrant nut tree putting forth its leaves in the spring; under it a
+maiden lost in reverie, who finally falls asleep, happy in her
+thoughts. All is youth and fragrance, a charming little picture, whose
+colors must harmonize. None of them should stand out from the frame.
+Only one single word rises above the rustling of the tree, and this
+must be brought plainly to the hearing of the listening maiden--and
+hence, also, of the public--the second "_next_" year. The whole song
+finds its point in that one word. The nut tree before the house puts
+forth its green leaves and sheds its fragrance; its blossoms are
+lovingly embraced by the soft breezes, whispering to each other two by
+two, and offer their heads to be kissed, nodding and bowing; the song
+must be sung with an equal fragrance, each musical phrase in one
+breath: that is, with six inaudible breathings, without ritenuto.
+
+They whisper of a maiden who night and day is thinking, she knows not
+of what herself. Between "selber" and "nicht was" a slight separation
+of the words can be made, by breaking off the _r_ in "selber" nasally;
+and holding the tone nasally, without taking a fresh breath, attacking
+the "nicht" anew. In this way an expression of uncertainty is lent to
+the words "nicht was."
+
+But now all becomes quite mysterious. "They whisper, they
+whisper"--one must bend one's thoughts to hear it; who can understand
+so soft a song? But now I hear plainly, even though it be very
+soft--the whisper about the bridegroom and the next year, and again
+quite significantly, the _next_ year. That is so full of promise, one
+can scarcely tear one's self away from the thoughts, from the word in
+which love is imparted, and yet that, too, comes to an end!
+
+Now I am the maiden herself who listens, smiling in happiness, to the
+rustling of the tree, leaning her head against its trunk, full of
+longing fancies as she sinks to sleep and to dream, from which she
+would wish never to awaken.
+
+_"Feldeinsamkeit" by Brahms._
+
+This song interprets the exalted mood of the soul of the man who,
+lying at rest in the long grass, watches the clouds float by, and
+whose being is made one with nature as he does so. A whole world of
+insects buzzes about him, the air shimmers in the bright sunlight,
+flowers shed their perfume; everything about him lives a murmuring
+life in tones that seem to enhance the peace of nature, far from the
+haunts of men.
+
+As tranquil as are the clouds that pass by, as peaceful as is the mood
+of nature, as luxurious as are the flowers that spread their
+fragrance, so tranquil and calm must be the breathing of the singer,
+which draws the long phrases of the song over the chords of the
+accompaniment, and brings before us in words and tones the picture of
+the warm peace of summer in nature, and the radiant being of a man
+dissolved within it.
+
+I mark the breathing places with _V_. "Ich liege still im Nohen grünen
+Gras _V_ und sende lange meinen Blick _V_ nach oben _V_ [and again
+comfortably, calmly] nach oben.
+
+"Von Grillen rings umschwärmt _V_ ohn' Unterlass _V_ von Himmelsbläue
+wundersam umwoben _V_ von Himmelsbläue _V_ _wundersam umwoben_."
+
+Each tone, each letter, is connected closely with the preceding and
+following; the expression of the eyes and of the soul should be
+appropriate to that of the glorified peace of nature and of the soul's
+happiness. The last phrase should soar tenderly, saturated with a warm
+and soulful coloring.
+
+"Die schönen weissen Wolken zieh'n dahin _V_ durch's _tiefe_ Blau _V_,
+[I gaze at it for a moment] wie schöne, stille Träume _V_ [losing
+one's self] wie schöne stille Träume. _V_ [A feeling of dissolution
+takes away every thought of living and being.] Mir ist _V_ als ob _V_
+ich längst _V_ gestorben bin! [The whole being is dissolved in the
+ether; the end comes with outstretched wings soaring above the earth.]
+und ziehe selig mit _V_ durch ew'ge Räume _V_ und ziehe selig mit _V_
+durch ew'ge Räume. [Dissolution of the soul in the universe must sound
+forth from the singer's tone.]
+
+_"The Erlking," by Schubert._
+
+For him who is familiar with our native legends and tales, the willows
+and alders in the fields and by the brooks are peopled with hidden
+beings, fairies, and witches. They stretch out ghostly arms, as their
+veils wave over their loose hair, they bow, cower, raise themselves,
+become as big as giants or as little as dwarfs. They seem to lie in
+wait for the weak, to fill them with fright.
+
+The father, however, who rides with his child through the night and
+the wind, is a man, no ghost; and his faithful steed, that carries
+both, no phantom. The picture is presented to us vividly; we can
+follow the group for long. The feeling is of haste, but not of
+ghostliness. The prelude should consequently sound simply fast, but
+not overdrawn. The first phrases of the singer should be connected
+with it as a plain narrative.
+
+Suddenly the child hugs the father more closely and buries his face in
+terror in his bosom. Lovingly the father bends over him; _quietly_ he
+asks him the cause of his fear.
+
+Frightened, the child looks to one side, and asks, in disconnected
+phrases, whether his father does not see the Erlking, the Erlking
+with his crown and train. They had just ridden by a clump of willows.
+Still quietly, the father explains _smilingly_ to his son that what he
+saw was a bank of fog hanging over the meadow.
+
+But in the boy's brain the Erlking has already raised his enticing
+whisper.[3] The still, small voice, as though coming from another
+world, promises the child golden raiment, flowers, and games.
+
+[Footnote 3: The voice of the Erlking is a continuous, soft,
+uninterrupted stream of tone, upon which the whispered words are hung.
+The Erlking excites the thoughts of the fever-sick boy. The three
+enticements must be sung very rapidly, without any interruption of the
+breath. The first I sing as far as possible in one breath (if I am not
+hampered by the accompanist), or at most in two; the second in two,
+the third in three; and here for the first time the words "reizt" and
+"branch ich Gewalt" emerge from the whispered pianissimo.]
+
+Fearfully he asks his father if he does not hear the Erlking's
+whispered promises.
+
+"It is only the dry leaves rustling in the wind." The father quiets
+him, and his voice is full of firm and loving reassurance, but he
+feels that his child is sick.
+
+For but a few seconds all is still; then the voice comes back again.
+In a low whisper sounds and words are distinguished. Erlking invites
+the boy to play with his daughters, who shall dance with him and rock
+him and sing to him.
+
+In the heat of fever the boy implores his father to look for the
+Erlking's daughters. The father sees only an old gray willow; but his
+voice is no longer calm. Anxiety for his sick child makes his manly
+tones break; the comforting words contain already a longing for the
+journey's end--quickly, quickly, must he reach it.
+
+Erlking has now completely filled the feverish fancy of the child.
+With ruthless power he possesses himself of the boy--all opposition is
+vain--the silver cord is loosened. Once more he cries out in fear to
+his father, then his eyes are closed. The man, beside himself, strains
+every nerve--his own and his horse's; his haste is like a wild
+flight. The journey's end is reached; breathless they stop--but the
+race was in vain.
+
+A cold shudder runs through even the narrator; his whole being is
+strained and tense, he must force his mouth to utter the last words.
+
+
+
+
+SECTION XXXIX
+
+IN CONCLUSION
+
+
+The class of voice is dependent upon the inborn characteristics of the
+vocal organs. But the development of the voice and all else that
+appertains to the art of song, can, providing talent is not lacking,
+be learned through industry and energy.
+
+If every singer cannot become a _famous_ artist, every singer is at
+least in duty bound to have learned something worth while, and to do
+his best according to his powers, as soon as he has to appear before
+any public. As an artist, he should not afford this public merely a
+cheap amusement, but should acquaint it with the most perfect
+embodiments of that art whose sole task properly is to ennoble the
+taste of mankind, and to bestow happiness; to raise it above the
+miseries of this workaday world, withdraw it from them, to idealize
+even the hateful things in human nature which it may have to
+represent, without departing from truth.
+
+But what is the attitude of artists toward these tasks?
+
+CLEVELAND, January 11, 1902.
+
+
+
+
+NOTE
+
+_A Good Remedy for Catarrh and Hoarseness_
+
+
+Pour boiling hot water into a saucer, and let a large sponge suck it
+all up. Then squeeze it firmly out again. Hold the sponge to the nose
+and mouth, and breathe alternately through the nose and mouth, in and
+out.
+
+I sing my exercises, the great scale, passages, etc., and all the
+vowels into it, and so force the hot steam to act upon the lungs,
+bronchial tubes, and especially on the mucous membranes, while I am
+breathing in and out through the sponge. After this has been kept up
+for ten or fifteen minutes, wash the face in cold water. This can be
+repeated four to six times a day. The sponge should not be full of
+water, but must be quite squeezed out. This has helped me greatly, and
+I can recommend it highly. It can do no injury because it is natural.
+But after breathing in the hot steam, do not go out immediately into
+the cold air.
+
+
+
+
+
+
+
+
+End of the Project Gutenberg EBook of How to Sing, by Lilli Lehmann
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+  <head>
+    <meta http-equiv="Content-Type" content="text/html;charset=iso-8859-1" />
+    <title>
+      The Project Gutenberg eBook of How to Sing, by Lilli Lehmann.
+    </title>
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+<pre>
+
+The Project Gutenberg EBook of How to Sing, by Lilli Lehmann
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: How to Sing
+       [Meine Gesangskunst]
+
+Author: Lilli Lehmann
+
+Translator: Richard Aldrich
+
+Release Date: August 25, 2006 [EBook #19116]
+
+Language: English
+
+Character set encoding: ISO-8859-1
+
+*** START OF THIS PROJECT GUTENBERG EBOOK HOW TO SING ***
+
+
+
+
+Produced by David Newman, Linda Cantoni, and the Online
+Distributed Proofreading Team at http://www.pgdp.net
+
+
+
+
+
+
+</pre>
+
+
+
+
+
+<h1>HOW TO SING</h1>
+
+<h3>[MEINE GESANGSKUNST]</h3>
+
+
+<h3>BY</h3>
+
+<h2>LILLI LEHMANN</h2>
+
+
+<p style="text-align: center">&#160;</p>
+
+
+<p style="text-align: center">
+<img src="images/image01.jpg" width="304" height="400" alt="Madame Lilli Lehmann" title="Madame Lilli Lehmann" /></p>
+
+
+<p style="text-align: center">&#160;</p>
+
+
+<h3>TRANSLATED FROM THE GERMAN</h3>
+
+<h3>BY</h3>
+
+<h3>RICHARD ALDRICH</h3>
+
+<hr style="width: 45%;" />
+
+<p style="text-align: center">
+New York<br />
+THE MACMILLAN COMPANY<br />
+LONDON: MACMILLAN &amp; CO., <span class="smcap">Ltd</span>.<br />
+1902<br />
+</p>
+
+<p style="text-align: center"><i>All rights reserved</i></p>
+
+<p style="text-align: center">
+<span class="smcap">Copyright</span>, 1902,<br />
+<span class="smcap">By</span> THE MACMILLAN COMPANY.<br />
+</p>
+
+<p style="text-align: center">Set up and electrotyped November, 1902.</p>
+
+<p style="text-align: center">
+Norwood Press<br />
+J.S. Cushing &amp; Co.&#8212;Berwick &amp; Smith<br />
+Norwood Mass. U.S.A.<br />
+</p>
+
+
+
+<hr style="width: 65%;" />
+<p><span class="pagenum"><a name="Page_v" id="Page_v">[Pg v]</a></span></p>
+<h2>CONTENTS</h2>
+
+
+<p style="text-align: center">
+<span class="smcap"><a href="#MY_PURPOSE">My Purpose</a></span>      1<br />
+<br />
+<span class="smcap"><a href="#MY_TITLE">My Title to write on the Art of Song</a></span>      5<br />
+<br />
+<br />
+<b><a href="#SECTION_I">SECTION I</a><br />
+</b>
+<br />
+<span class="smcap">Preliminary Practice</span>      11<br />
+<br />
+<br />
+<b><a href="#SECTION_II">SECTION II</a><br />
+</b>
+<br />
+<span class="smcap">Of the Breath</span>      19<br />
+<br />
+<br />
+<b><a href="#SECTION_III">SECTION III</a><br />
+</b>
+<br />
+<span class="smcap">Of the Breath and Whirling Currents</span>      27<br />
+<br />
+<br />
+<b><a href="#SECTION_IV">SECTION IV</a><br />
+</b>
+<br />
+<span class="smcap">The Singer's Physiological Studies</span>      35<br />
+<br />
+<br />
+<b><a href="#SECTION_V">SECTION V</a><br />
+</b>
+<br />
+<span class="smcap">Equalizing the Voice; Breath; Form</span>      45<br />
+<br />
+<br />
+<b><a href="#SECTION_VI">SECTION VI</a><br />
+</b>
+<br />
+<span class="smcap">The Attack</span>      69<br />
+<br />
+<br />
+<b><a href="#SECTION_VII">SECTION VII</a><br />
+</b>
+<br />
+<span class="pagenum"><a name="Page_vi" id="Page_vi">[Pg vi]</a></span><span class="smcap">Nasal. Nasal Singing</span>      73<br />
+<br />
+<br />
+<b><a href="#SECTION_VIII">SECTION VIII</a><br />
+</b>
+<br />
+<span class="smcap">Singing toward the Nose. Head Voice</span>      78<br />
+<br />
+<br />
+<b><a href="#SECTION_IX">SECTION IX</a><br />
+</b>
+<br />
+<span class="smcap">The Head Voice</span>      86<br />
+<br />
+<br />
+<b><a href="#SECTION_X">SECTION X</a><br />
+</b>
+<br />
+<span class="smcap">Sensation and Position of the Tongue</span>      99<br />
+<br />
+<br />
+<b><a href="#SECTION_XI">SECTION XI</a><br />
+</b>
+<br />
+<span class="smcap">The Sensations of the Palate</span>      102<br />
+<br />
+<br />
+<b><a href="#SECTION_XII">SECTION XII</a><br />
+</b>
+<br />
+<span class="smcap">The Sensation of the Resonance of the Head Cavities</span>      108<br />
+<br />
+<br />
+<b><a href="#SECTION_XIII">SECTION XIII</a><br />
+</b>
+<br />
+<span class="smcap">Singing Covered</span>      123<br />
+<br />
+<br />
+<b><a href="#SECTION_XIV">SECTION XIV</a><br />
+</b>
+<br />
+<span class="smcap">On Vocal Registers</span>      133<br />
+<br />
+<br />
+<b><a href="#SECTION_XV">SECTION XV</a><br />
+</b>
+<br />
+<span class="smcap">Development and Equalization</span>      142<br />
+<br />
+<br />
+<b><a href="#SECTION_XVI">SECTION XVI</a><br />
+</b>
+<br />
+<span class="smcap">White Voices</span>      154<br />
+<br />
+<br />
+<b><a href="#SECTION_XVII">SECTION XVII</a><br />
+</b>
+<br />
+<span class="pagenum"><a name="Page_vii" id="Page_vii">[Pg vii]</a></span><span class="smcap">Theodor Wachtel</span>      158<br />
+<br />
+<br />
+<b><a href="#SECTION_XVIII">SECTION XVIII</a><br />
+</b>
+<br />
+<span class="smcap">The Highest Head Tones</span>      162<br />
+<br />
+<br />
+<b><a href="#SECTION_XIX">SECTION XIX</a><br />
+</b>
+<br />
+<span class="smcap">Extension of the Compass and Equalization of Registers</span>      169<br />
+<br />
+<br />
+<b><a href="#SECTION_XX">SECTION XX</a><br />
+</b>
+<br />
+<span class="smcap">The Tremolo</span>      170<br />
+<br />
+<br />
+<b><a href="#SECTION_XXI">&gt;SECTION XXI</a><br />
+</b>
+<br />
+<span class="smcap">The Cure</span>      176<br />
+<br />
+<br />
+<b><a href="#SECTION_XXII">SECTION XXII</a><br />
+</b>
+<br />
+<span class="smcap">The Tongue</span>      181<br />
+<br />
+<br />
+<b><a href="#SECTION_XXIII">SECTION XXIII</a><br />
+</b>
+<br />
+<span class="smcap">Preparation for Singing</span>      189<br />
+<br />
+<br />
+<b><a href="#SECTION_XXIV">SECTION XXIV</a><br />
+</b>
+<br />
+<span class="smcap">The Position of the Mouth (Contraction of the Muscles of Speech)</span>      192<br />
+<br />
+<br />
+<b><a href="#SECTION_XXV">SECTION XXV</a><br />
+</b>
+<br />
+<span class="smcap">Connection of Vowels</span>      196<br />
+<br />
+<br />
+<b><a href="#SECTION_XXVI">SECTION XXVI</a><br />
+</b>
+<br />
+<span class="pagenum"><a name="Page_viii" id="Page_viii">[Pg viii]</a></span><span class="smcap">The Lips</span>      212<br />
+<br />
+<br />
+<b><a href="#SECTION_XXVII">SECTION XXVII</a><br />
+</b>
+<br />
+<span class="smcap">The Vowel Sound</span> <i>AH</i>      214<br />
+<br />
+<br />
+<b><a href="#SECTION_XXVIII">SECTION XXVIII</a><br />
+</b>
+<br />
+<span class="smcap">Italian and German</span>      219<br />
+<br />
+<br />
+<b><a href="#SECTION_XXIX">SECTION XXIX</a><br />
+</b>
+<br />
+<span class="smcap">Auxiliary Vowels</span>      226<br />
+<br />
+<br />
+<b><a href="#SECTION_XXX">SECTION XXX</a><br />
+</b>
+<br />
+<span class="smcap">Resonant Consonants</span>      229<br />
+<br />
+<br />
+<b><a href="#SECTION_XXXI">SECTION XXXI</a><br />
+</b>
+<br />
+<span class="smcap">Practical Exercises</span>      232<br />
+<br />
+<br />
+<b><a href="#SECTION_XXXII">SECTION XXXII</a><br />
+</b>
+<br />
+<span class="smcap">The Great Scale</span>      239<br />
+<br />
+<br />
+<b><a href="#SECTION_XXXIII">SECTION XXXIII</a><br />
+</b>
+<br />
+<span class="smcap">Velocity</span>      245<br />
+<br />
+<br />
+<b><a href="#SECTION_XXXIV">SECTION XXXIV</a><br />
+</b>
+<br />
+<span class="smcap">Trill</span>      251<br />
+<br />
+<br />
+<b><a href="#SECTION_XXXV">SECTION XXXV</a><br />
+</b>
+<br />
+<span class="smcap">How to hold One's Self when Practising</span>      256<br />
+<br />
+<br />
+<b><a href="#SECTION_XXXVI">SECTION XXXVI</a><br />
+</b>
+<br />
+<span class="pagenum"><a name="Page_ix" id="Page_ix">[Pg ix]</a></span><span class="smcap">Concerning Expression</span>      263<br />
+<br />
+<br />
+<b><a href="#SECTION_XXXVII">SECTION XXXVII</a><br />
+</b>
+<br />
+<span class="smcap">Before the Public</span>      265<br />
+<br />
+<br />
+<b><a href="#SECTION_XXXVIII">SECTION XXXVIII</a><br />
+</b>
+<br />
+<span class="smcap">Interpretation</span>      270<br />
+<br />
+<br />
+<b><a href="#SECTION_XXXIX">SECTION XXXIX</a><br />
+</b>
+<br />
+<span class="smcap">In Conclusion</span>      279<br />
+<br />
+<br />
+<span class="smcap"><a href="#NOTE">Note</a>.&#8212;A Good Remedy for Catarrh and Hoarseness</span> 281<br />
+</p>
+
+
+
+<hr style="width: 65%;" />
+<p><span class="pagenum"><a name="Page_1" id="Page_1">[Pg 1]</a></span></p>
+<h2><a name="MY_PURPOSE" id="MY_PURPOSE"></a>MY PURPOSE</h2>
+
+
+<p><span class="smcap">My</span> purpose is to discuss simply, intelligibly, yet from a scientific
+point of view, the sensations known to us in singing, and exactly
+ascertained in my experience, by the expressions &quot;singing open,&quot;
+&quot;covered,&quot; &quot;dark,&quot; &quot;nasal,&quot; &quot;in the head,&quot; or &quot;in the neck,&quot;
+&quot;forward,&quot; or &quot;back.&quot; These expressions correspond to our sensations
+in singing; but they are unintelligible as long as the causes of those
+sensations are unknown, and everybody has a different idea of them.
+Many singers try their whole lives long to produce them and never
+succeed. This happens because science understands too little of
+singing, the singer too little of science. I mean that the
+physiological explanations of the highly complicated processes of
+singing are not plainly enough put for the singer, who has to concern
+himself chiefly with his sensations<span class="pagenum"><a name="Page_2" id="Page_2">[Pg 2]</a></span> in singing and guide himself by
+them. Scientific men are not at all agreed as to the exact functions
+of the several organs; the humblest singer knows something about them.
+Every serious artist has a sincere desire to help others reach the
+goal&#8212;the goal toward which all singers are striving: to sing well and
+beautifully.</p>
+
+<p>The true art of song has always been possessed and will always be
+possessed by such individuals as are dowered by nature with all that
+is needful for it&#8212;that is, healthy vocal organs, uninjured by vicious
+habits of speech; a good ear, a talent for singing, intelligence,
+industry, and energy.</p>
+
+<p>In former times eight years were devoted to the study of singing&#8212;at
+the Prague Conservatory, for instance. Most of the mistakes and
+misunderstandings of the pupil could be discovered before he secured
+an engagement, and the teacher could spend so much time in correcting
+them that the pupil learned to pass judgment on himself properly.<span class="pagenum"><a name="Page_3" id="Page_3">[Pg 3]</a></span></p>
+
+<p>But art to-day must be pursued like everything else, by steam. Artists
+are turned out in factories, that is, in so-called conservatories, or
+by teachers who give lessons ten or twelve hours a day. In two years
+they receive a certificate of competence, or at least the diploma of
+the factory. The latter, especially, I consider a crime, that the
+state should prohibit.</p>
+
+<p>All the inflexibility and unskilfulness, mistakes and deficiencies,
+which were formerly disclosed during a long course of study, do not
+appear now, under the factory system, until the student's public
+career has begun. There can be no question of correcting them, for
+there is no time, no teacher, no critic; and the executant has learned
+nothing, absolutely nothing, whereby he could undertake to distinguish
+or correct them.</p>
+
+<p>The incompetence and lack of talent whitewashed over by the factory
+concern lose only too soon their plausible brilliancy. A failure in
+life is generally the sad end of such a<span class="pagenum"><a name="Page_4" id="Page_4">[Pg 4]</a></span> factory product; and to
+factory methods the whole art of song is more and more given over as a
+sacrifice.</p>
+
+<p>I cannot stand by and see these things with indifference. My artistic
+conscience urges me to disclose all that I have learned and that has
+become clear to me in the course of my career, for the benefit of art;
+and to give up my &quot;secrets,&quot; which seem to be secrets only because
+students so rarely pursue the path of proper study to its end. If
+artists, often such only in name, come to a realization of their
+deficiencies, they lack only too frequently the courage to acknowledge
+them to others. Not until we artists all reach the point when we can
+take counsel with each other about our mistakes and deficiencies, and
+discuss the means for overcoming them, putting our pride in our
+pockets, will bad singing and inartistic effort be checked, and our
+noble art of singing come into its rights again.<span class="pagenum"><a name="Page_5" id="Page_5">[Pg 5]</a></span></p>
+
+
+<h3><a name="MY_TITLE">MY TITLE TO WRITE ON THE ART OF SONG</a></h3>
+
+<p>Rarely are so many desirable and necessary antecedents united as in my
+case.</p>
+
+<p>The child of two singers, my mother being gifted musically quite out
+of the common, and active for many years not only as a dramatic
+singer, but also as a harp virtuoso, I, with my sister Marie, received
+a very careful musical education; and later a notable course of
+instruction in singing from her. From my fifth year on I listened
+daily to singing lessons; from my ninth year I played accompaniments
+on the pianoforte, sang all the missing parts, in French, Italian,
+German, and Bohemian; got thoroughly familiar with all the operas, and
+very soon knew how to tell good singing from bad. Our mother took
+care, too, that we should hear all the visiting notabilities of that
+time in opera as well as in concert; and there were many of them every
+year at the Deutsches Landestheater in Prague.<span class="pagenum"><a name="Page_6" id="Page_6">[Pg 6]</a></span></p>
+
+<p>She herself had found a remarkable singing teacher in the Frankfort
+basso, F&#246;ppel; and kept her voice noble, beautiful, young, and strong
+to the end of her life,&#8212;that is, till her seventy-seventh
+year,&#8212;notwithstanding enormous demands upon it and many a blow of
+fate. She could diagnose a voice infallibly; but required a probation
+of three to four months to test talent and power of making progress.</p>
+
+<p>I have been on the stage since my eighteenth year; that is, for
+thirty-four years. In Prague I took part every day in operas,
+operettas, plays, and farces. Thereafter in Danzig I sang from
+eighteen to twenty times a month in coloratura and soubrette parts;
+also in Leipzig, and later, fifteen years in Berlin. In addition I
+sang in very many oratorios and concerts, and gave lessons now and
+then.</p>
+
+<p>As long as my mother lived she was my severest critic, never
+satisfied. Finally I became such for myself. Now fifteen years<span class="pagenum"><a name="Page_7" id="Page_7">[Pg 7]</a></span> more
+have passed, of which I spent eight very exacting ones as a dramatic
+singer in America, afterward fulfilling engagements as a star, in all
+languages, in Germany, Austria, Hungary, France, England, and Sweden.
+My study of singing, nevertheless, was not relaxed. I kept it up more
+and more zealously by myself, learned something from everybody,
+learned to <i>hear</i> myself and others.</p>
+
+<p>For many years I have been devoting myself to the important questions
+relating to singing, and believe that I have finally found what I have
+been seeking. It has been my endeavor to set down as clearly as
+possible all that I have learned through zealous, conscientious study
+by myself and with others, and thereby to offer to my colleagues
+something that will bring order into the chaos of their methods of
+singing; something based on science as well as on sensations in
+singing; something that will bring expressions often misunderstood
+into clear relation with the exact functions of the vocal organs.<span class="pagenum"><a name="Page_8" id="Page_8">[Pg 8]</a></span></p>
+
+<p>In what I have just said I wish to give a sketch of my career only to
+show what my voice has endured, and why, notwithstanding the enormous
+demands I have made upon it, it has lasted so well. One who has sung
+for a short time, and then has lost his voice, and for this reason
+becomes a singing teacher, has never sung consciously; it has simply
+been an accident, and this accident will be repeated, for good or for
+ill, in his pupils.</p>
+
+<p>The talent in which all the requirements of an artist are united is
+very rare. Real talent will get along, even with an inferior teacher,
+in some way or another; while the best teacher cannot produce talent
+where there is none. Such a teacher, however, will not beguile people
+with promises that cannot be kept.</p>
+
+<p>My chief attention I devote to artists, whom I can, perhaps, assist in
+their difficult, but glorious, profession. One is never done with
+learning; and that is especially true of singers. I earnestly hope
+that I may<span class="pagenum"><a name="Page_9" id="Page_9">[Pg 9]</a></span> leave them something, in my researches, experiences, and
+studies, that will be of use. I regard it as my duty; and I confide it
+to all who are striving earnestly for improvement.</p>
+
+<p><span class="smcap">Gr&#252;newald</span>, Oct. 31, 1900.</p>
+
+
+
+<hr style="width: 65%;" />
+<p><span class="pagenum"><a name="Page_11" id="Page_11">[Pg 11]</a></span></p>
+<h2><a name="SECTION_I" id="SECTION_I"></a>SECTION I</h2>
+
+<h3>PRELIMINARY PRACTICE</h3>
+
+
+<p><span class="smcap">It</span> is very important for all who wish to become artists to begin their
+work not with practical exercises in singing, but with serious
+practice in tone production, in breathing in and out, in the functions
+of the lungs and palate, in clear pronunciation of all letters, and
+with speech in general.</p>
+
+<p>Then it would soon be easy to recognize talent or the lack of it. Many
+would open their eyes in wonder over the difficulties of learning to
+sing, and the proletariat of singers would gradually disappear. With
+them would go the singing conservatories and the bad teachers who, for
+a living, teach everybody that comes, and promise to make everybody a
+great artist.<span class="pagenum"><a name="Page_12" id="Page_12">[Pg 12]</a></span></p>
+
+<p>Once when I was acting as substitute for a teacher in a conservatory,
+the best pupils of the institution were promised me,&#8212;those who needed
+only the finishing touches. But when, after my first lesson, I went to
+the director and complained of the ignorance of the pupils, my mouth
+was closed with these words, &quot;For Heaven's sake, don't say such
+things, or we could never keep our conservatory going!&quot;</p>
+
+<p>I had enough, and went.</p>
+
+<p>The best way is for pupils to learn preparatory books by heart, and
+make drawings. In this way they will get the best idea of the vocal
+organs, and learn their functions by sensation as soon as they begin
+to sing. The pupil should be subjected to strict examinations.</p>
+
+<p><i>In what does artistic singing differ from natural singing?</i></p>
+
+<p>In a clear understanding of all the organs concerned in voice
+production, and their<span class="pagenum"><a name="Page_13" id="Page_13">[Pg 13]</a></span> functions, singly and together; in the
+understanding of the sensations in singing, conscientiously studied
+and scientifically explained; in a gradually cultivated power of
+contracting and relaxing the muscles of the vocal organs, that power
+culminating in the ability to submit them to severe exertions and keep
+them under control. The prescribed tasks must be mastered so that they
+can be done without exertion, with the whole heart and soul, and with
+complete understanding.</p>
+
+<p>How is this to be attained?</p>
+
+<p>Through natural gifts, among which I reckon the possession of sound
+organs and a well-favored body; through study guided by an excellent
+teacher <i>who can sing well himself</i>,&#8212;study that must be kept up for
+at least six years, without counting the preliminary work.</p>
+
+<p>Only singers formed on such a basis, after years of work, deserve the
+title of artist; only such have a right to look forward to a<span class="pagenum"><a name="Page_14" id="Page_14">[Pg 14]</a></span> lasting
+future, and only those equipped with such a knowledge ought to teach.</p>
+
+<p><i>Of what consists artistic singing?</i></p>
+
+<p>Of a clear understanding, first and foremost, of breathing, in and
+out; of an understanding of the form through which the breath has to
+flow, prepared by a proper position of the larynx, the tongue, and the
+palate. Of a knowledge and understanding of the functions of the
+muscles of the abdomen and diaphragm, which regulate the breath
+pressure; then, of the chest-muscle tension, against which the breath
+is forced, and whence, under the control of the singer, after passing
+through the vocal cords, it beats against the resonating surfaces and
+vibrates in the cavities of the head. Of a highly cultivated skill and
+flexibility in adjusting all the vocal organs and in putting them into
+minutely graduated movements, without inducing changes through the
+pronunciation of words or the execution of<span class="pagenum"><a name="Page_15" id="Page_15">[Pg 15]</a></span> musical figures that shall
+be injurious to the tonal beauty or the artistic expression of the
+song. Of an immense muscular power in the breathing apparatus and all
+the vocal organs, the strengthening of which to endure sustained
+exertion cannot be begun too long in advance; and the exercising of
+which, as long as one sings in public, must never be remitted for a
+single day.</p>
+
+<p>As beauty and stability of tone do not depend upon excessive
+<i>pressure</i> of the breath, so the muscular power of the organs used in
+singing does not depend on convulsive rigidity, but in that snakelike
+power of contracting and loosening,<a name="FNanchor_1_1" id="FNanchor_1_1"></a><a href="#Footnote_1_1" class="fnanchor">[1]</a> which a singer must consciously
+have under perfect control.</p>
+
+<p>The study needed for this occupies an entire lifetime; not only
+because the singer must perfect himself more and more in the<span class="pagenum"><a name="Page_16" id="Page_16">[Pg 16]</a></span> r&#244;les of
+his repertory&#8212;even after he has been performing them year in and year
+out,&#8212;but because he must continually strive for progress, setting
+himself tasks that require greater and greater mastery and strength,
+and thereby demand fresh study.</p>
+
+<p><i>He who stands still, goes backward.</i></p>
+
+<p>Nevertheless, there are fortunately gifted geniuses in whom are
+already united all the qualities needed to attain greatness and
+perfection, and whose circumstances in life are equally fortunate; who
+can reach the goal earlier, without devoting their whole lives to it.
+Thus, for instance, in Adelina Patti everything was united,&#8212;the
+splendid voice, paired with great talent for singing, and the long
+oversight of her studies by her distinguished teacher, Strakosch. She
+never sang r&#244;les that did not suit her voice; in her earlier years she
+sang only arias and duets or single solos, never taking part in
+ensembles. She never sang even her limited repertory<span class="pagenum"><a name="Page_17" id="Page_17">[Pg 17]</a></span> when she was
+indisposed. She never attended rehearsals, but came to the theatre in
+the evening and sang triumphantly, without ever having seen the
+persons who sang and acted with her. She spared herself rehearsals
+which, on the day of the performance, or the day before, exhaust all
+singers, because of the excitement of all kinds attending them, and
+which contribute neither to the freshness of the voice nor to the joy
+of the profession.</p>
+
+<p>Although she was a Spaniard by birth and an American by early
+adoption, she was, so to speak, the greatest Italian singer of my
+time. All was absolutely good, correct, and flawless, the voice like a
+bell that you seemed to hear long after its singing had ceased.</p>
+
+<p>Yet she could give no explanation of her art, and answered all her
+colleagues' questions concerning it with an &quot;Ah, je n'en sais rien!&quot;</p>
+
+<p>She possessed, unconsciously, as a gift of<span class="pagenum"><a name="Page_18" id="Page_18">[Pg 18]</a></span> nature, a union of all
+those qualities that all other singers must attain and possess
+<i>consciously</i>. Her vocal organs stood in the most favorable relations
+to each other. Her talent, and her remarkably trained ear, maintained
+control over the beauty of her singing and of her voice. The fortunate
+circumstances of her life preserved her from all injury. The purity
+and flawlessness of her tone, the beautiful equalization of her whole
+voice, constituted the magic by which she held her listeners
+entranced. Moreover, she was beautiful and gracious in appearance.</p>
+
+<p>The accent of great dramatic power she did not possess; yet I ascribe
+this more to her intellectual indolence than to her lack of ability.</p>
+
+
+
+<hr style="width: 65%;" />
+<p><span class="pagenum"><a name="Page_19" id="Page_19">[Pg 19]</a></span></p>
+<h2><a name="SECTION_II" id="SECTION_II"></a>SECTION II</h2>
+
+<h3>OF THE BREATH</h3>
+
+
+<p><span class="smcap">The</span> breath becomes voice through the operation of the will, and the
+instrumentality of the vocal organs.</p>
+
+<p>To regulate the breath, to prepare a passage of the proper form
+through which it shall flow, circulate, develop itself, and reach the
+necessary resonating chambers, must be our chief task.</p>
+
+<p>Concerning the breath and much more besides there is so much that is
+excellent in Oscar Guttmann's &quot;Gymnastik der Stimme&quot; that I can do no
+better than to refer to it and recommend it strongly to the attention
+of all earnest students.</p>
+
+<p>How do I breathe?</p>
+
+<p>Very short of breath by nature, my mother had to keep me as a little
+child al<span class="pagenum"><a name="Page_20" id="Page_20">[Pg 20]</a></span>most sitting upright in bed. After I had outgrown that and as
+a big girl could run around and play well enough, I still had much
+trouble with shortness of breath in the beginning of my singing
+lessons. For years I practised breathing exercises every day without
+singing, and still do so with especial pleasure, now that everything
+that relates to the breath and the voice has become clear to me. Soon
+I had got so far that I could hold a swelling and diminishing tone
+from fifteen to eighteen seconds.</p>
+
+<p>I had learned this: to draw in the abdomen and diaphragm, raise the
+chest and hold the breath in it by the aid of the ribs; in letting out
+the breath <i>gradually</i> to relax the body and to let the chest fall
+slowly. To do everything <i>thoroughly</i> I doubtless exaggerated it all.
+But since for twenty-five years I have breathed in this way almost
+exclusively, with the utmost care, I have naturally attained great
+dexterity in it; and my abdominal and chest muscles and my<span class="pagenum"><a name="Page_21" id="Page_21">[Pg 21]</a></span> diaphragm,
+have been strengthened to a remarkable degree. Yet I was not
+satisfied.</p>
+
+<p>A horn player in Berlin with the power of holding a very long breath,
+once told me in answer to a question, that he drew in his abdomen and
+diaphragm very strongly, but immediately relaxed his abdomen again as
+soon as he began to play. I tried the same thing with the <i>best
+results</i>. Quite different, and very na&#239;ve, was the answer I once got
+from three German orchestral horn players in America. They looked at
+me in entire bewilderment, and appeared not to understand in the least
+my questions as to how they breathed. Two of them declared that the
+best way was not to think about it at all. But when I asked if their
+teachers had never told them how they should breathe, the third
+answered, after some reflection, &quot;Oh, yes!&quot; and pointed in a general
+way to his stomach. The first two were right, in so far as too violent
+inhalation of breath is really undesirable, because thereby <i>too much</i>
+air is drawn<span class="pagenum"><a name="Page_22" id="Page_22">[Pg 22]</a></span> in. But such ignorance of the subject is disheartening,
+and speaks ill for the conservatories in which the players were
+trained, whose performances naturally are likely to give art a black
+eye.</p>
+
+<p>Undoubtedly I took in too much air in breathing, and thereby stiffened
+various organs, depriving my muscles of their elasticity. Yet, with
+all my care and preparation, I often, when I had not given special
+thought to it, had too little breath, rather than too much. I felt,
+too, after excessive inhalation, as if I must emit a certain amount of
+air before I began to sing. Finally I abandoned all superfluous
+drawing in of the abdomen and diaphragm, inhaled but little, and began
+to pay special attention to emitting the smallest possible amount of
+breath, which I found very serviceable.</p>
+
+<p>How do I breathe now?</p>
+
+<p>My diaphragm I scarcely draw in consciously, my abdomen never; I feel
+the<span class="pagenum"><a name="Page_23" id="Page_23">[Pg 23]</a></span> breath fill my lungs, and my upper ribs expand. Without raising
+my chest especially high, I force the breath against it, and hold it
+fast there. At the same time I raise my palate high and prevent the
+escape of breath through the nose. The diaphragm beneath reacts
+against it, and furnishes pressure from the abdomen. Chest, diaphragm,
+the closed epiglottis, and the raised palate all form a supply chamber
+for the breath.</p>
+
+<p>Only in this way is the breath under the control of the singer,
+through the pressure against the chest tension muscles. (<i>This is very
+important.</i>) From now on the breath must be emitted from the supply
+chamber very sparingly, but with unceasing uniformity and strength,
+without once being held back, to the vocal cords, which will further
+regulate it as far as possible. The more directly the breath pressure
+is exerted against the chest,&#8212;one has the feeling, in this, of
+singing the tone against the chest whence it must be <i>pressed</i>
+out,&#8212;the less breath flows<span class="pagenum"><a name="Page_24" id="Page_24">[Pg 24]</a></span> through the vocal cords, and the less,
+consequently, are these overburdened.</p>
+
+<p>In this way, under control, in the passage formed for it above the
+tongue by that organ, it reaches the resonance chambers prepared for
+it by the raising and lowering of the soft palate, and those in the
+cavities of the head. Here it forms whirling currents of tone; these
+now must circulate uninterrupted for as long as possible and fill all
+the accessible resonating surfaces, which must be maintained in an
+elastic state. This is necessary to bring the tone to its perfect
+purity. Not till these currents have been sufficiently used up and
+passed through the &quot;bell,&quot; or cup-shaped resonating cavity, of the
+mouth and lips, may it be allowed to stream from the mouth unimpeded.
+Yet the <i>sensation</i> must be as if the breath were constantly escaping
+from the mouth.</p>
+
+<p>To observe and keep under control these many functions, singly or in
+conjunction, forms the ceaseless delight of the never failing fountain
+of song study.<span class="pagenum"><a name="Page_25" id="Page_25">[Pg 25]</a></span></p>
+
+<p>Thus, in shaping the passage for the breath, the larynx, tongue, and
+palate, which can be placed at will, are employed. The vocal cords,
+which can best be imagined as inner lips, we have under control
+neither as beginners nor as artists. <i>We do not feel them.</i> We first
+become conscious of them through the controlling apparatus of the
+breath, which teaches us to <i>spare</i> them, by emitting breath through
+them in the least possible quantity and of even pressure, whereby a
+steady tone can be produced. I even maintain that all is won, when&#8212;as
+Victor Maurel says&#8212;we regard them directly as the breath regulators,
+and relieve them of all overwork through the controlling apparatus of
+the chest-muscle tension.</p>
+
+<p>Through the form prepared by the larynx, tongue, and palate, we can
+direct the breath, previously under control and regulation, toward the
+particular resonating surfaces on the palate, or in the cavities of
+the head,<span class="pagenum"><a name="Page_26" id="Page_26">[Pg 26]</a></span> which are suitable to each tone. This rule remains the same
+for all voices.</p>
+
+<p>As soon as the breath leaves the larynx, it is divided. (Previously,
+in inhalation, a similar thing happens; but this does not concern us
+immediately, and I prefer to direct the singer's chief attention to
+the second occurrence.) One part may press toward the palate, the
+other toward the cavities of the head. The division of the breath
+occurs regularly, from the deepest bass to the highest tenor or
+soprano, step for step, vibration for vibration, without regard to sex
+or individuality. Only the differing size or strength of the vocal
+organs through which the breath flows, the breathing apparatus, or the
+skill with which they are used, are different in different
+individuals. The seat of the breath, the law of its division, as well
+as the resonating surfaces, are always the same and are differentiated
+at most through difference of habit.
+</p>
+
+
+<hr style="width: 65%;" />
+<p><span class="pagenum"><a name="Page_27" id="Page_27">[Pg 27]</a></span></p>
+<h2><a name="SECTION_III" id="SECTION_III"></a>SECTION III</h2>
+
+<h3>OF THE BREATH AND WHIRLING CURRENTS</h3>
+
+<h3>(SINGING FORWARD)</h3>
+
+
+<p><span class="smcap">The</span> veriest beginner knows that in order to use the breath to the
+fullest advantage, it must remain very long diffused back in the
+mouth. A mistaken idea of &quot;singing forward&quot; misleads most to <i>press</i>
+it forward and thus allow it to be speedily dissipated.</p>
+
+<p>The column of breath coming in an uninterrupted stream from the
+larynx, must, as soon as it flows into the form prepared for it
+according to the required tone, by the tongue and palate, fill this
+form, soaring through all its corners, with its vibrations. It makes
+whirling currents, which circulate in the elastic form surrounding it,
+and it must remain there till the tone is high enough, strong enough,
+and sustained enough<span class="pagenum"><a name="Page_28" id="Page_28">[Pg 28]</a></span> to satisfy the judgment of the singer as well as
+the ear of the listener. Should there be lacking the least element of
+pitch, strength, or duration, the tone is imperfect and does not meet
+the requirement.</p>
+
+<p>Learning and teaching to hear is the first task of both pupil and
+teacher. One is impossible without the other. It is the most difficult
+as well as the most grateful task, and it is the only way to reach
+perfection.</p>
+
+<p>Even if the pupil unconsciously should produce a flawless tone, it is
+the teacher's duty to acquaint him clearly with the <i>causes</i> of it. It
+is not enough to sing well; one must also know how one does it. The
+teacher must tell the pupil constantly, making him describe clearly
+his sensations in singing, and understand fully the physiological
+factors that co&#246;perate to produce them.</p>
+
+<p>The sensations in singing must coincide with mine as here described,
+if they are to<span class="pagenum"><a name="Page_29" id="Page_29">[Pg 29]</a></span> be considered as correct; for mine are based logically
+on physiological causes and correspond precisely with the operation of
+these causes. Moreover, all my pupils tell me&#8212;often, to be sure, not
+till many months have passed&#8212;how exact my explanations are; how
+accurately, on the strength of them, they have learned to feel the
+physiological processes. They have learned, slowly, to be sure, to
+become conscious of their errors and false impressions; for it is very
+difficult to ascertain such mistakes and false adjustments of the
+organs. False sensations in singing and disregarded or false ideas of
+physiological processes cannot immediately be stamped out. A long time
+is needed for the mind to be able to form a clear image of those
+processes, and not till then can knowledge and improvement be
+expected. The teacher must repeatedly explain the physiological
+processes, the pupil repeatedly disclose every confusion and
+uncertainty he feels, until the perfect consciousness of his<span class="pagenum"><a name="Page_30" id="Page_30">[Pg 30]</a></span>
+sensations in singing is irrevocably impressed upon his memory, that
+is, has become a habit.</p>
+
+<p>Among a hundred singers hardly one can be found whose single tones
+meet every requirement. And among a thousand listeners, even among
+teachers, and among artists, hardly one hears it.</p>
+
+<p>I admit that such perfect tones sometimes, generally quite
+unconsciously, are heard from young singers, and especially from
+beginners, and never fail to make an impression. The teacher hears
+that they are good, so does the public. Only a very few know why, even
+among singers, because only a very few know the laws governing perfect
+tone production. Their talent, their ear perchance, tell them the
+truth; but the causes they neither know nor look for.</p>
+
+<p>On such &quot;unconscious singing&quot; directors, managers, and even
+conductors, build mistakenly their greatest hopes. No one hears what
+is lacking, or what will soon be lack<span class="pagenum"><a name="Page_31" id="Page_31">[Pg 31]</a></span>ing, and all are surprised when
+experienced singers protest against it.</p>
+
+<p>They become enthusiastic, properly, over beautiful voices, but pursue
+quite the wrong path in training them for greater tasks. As soon as
+such persons are obtained, they are immediately bundled into <i>all</i>
+r&#244;les; they have hardly time to learn one r&#244;le by heart, to say
+nothing of comprehending it and working it up artistically. The stars
+must shine <i>immediately</i>! But with what resources? With the fresh
+voice alone? Who is there to teach them to use their resources on the
+stage? Who to husband them for the future? The manager? the director?
+Not at all. When the day comes that they can no longer perform what,
+not they themselves, but the directors, expected of them, they are put
+to one side, and if they do not possess great energy and strength,
+often entirely succumb. They could not meet the demands made upon
+them, because they did not know how to use their resources.<span class="pagenum"><a name="Page_32" id="Page_32">[Pg 32]</a></span></p>
+
+<p>I shall be told that tones well sung, even unconsciously, are enough.
+But that is not true. The least unfavorable circumstance,
+over-exertion, indisposition, an unaccustomed situation, anything can
+blow out the &quot;unconscious&quot; one's light, or at least make it flicker
+badly. Of any self-help, when there is ignorance of all the
+fundamentals, there can be no question. Any help is grasped at. Then
+appears the so-called (but false) &quot;individuality,&quot; under whose mask so
+much that is bad presents itself to art and before the public.</p>
+
+<p>This is not remarkable, in view of the complexity of the phenomena of
+song. Few teachers concern themselves with the fundamental studies;
+they often do not sing at all themselves, or they sing quite wrongly;
+and consequently can neither describe the vocal sensations nor test
+them in others. Theory alone is of no value whatever. With old singers
+the case is often quite the contrary&#8212;so both seize whatever help they
+can lay hold of. The breath, that vibrates against the<span class="pagenum"><a name="Page_33" id="Page_33">[Pg 33]</a></span> soft palate,
+when it is raised, or behind it in the cavities of the head, produces
+whirling currents through its continuous streaming forth and its
+twofold division. These currents can circulate only in unbroken
+completeness of form. The longer their form remains unimpaired, and
+the more economically the continuous breath pressure is maintained,
+the less breath do these currents need, the less is emitted unused
+from the mouth.</p>
+
+<p>If an elastic form is found in the mouth in which the currents can
+circulate untouched by any pressure or undue contraction or expansion
+of it, the breath becomes practically unlimited. That is the simple
+solution of the paradox that without deep breathing one may often have
+much breath, and, after elaborate preparations, often none at all;
+because the chief attention is generally directed to inhalation,
+instead of to the elastic forming of the organs for the breath, sound
+currents, and tone. The one thing needed is the knowledge of the
+causes, and the necessary skill in pre<span class="pagenum"><a name="Page_34" id="Page_34">[Pg 34]</a></span>paring the form, avoiding all
+pressure that could injure it, whether originating in the larynx,
+tongue, or palate, or in the organs that furnish the breath pressure.</p>
+
+<p>The singer's endeavors, consequently, must be directed to keeping the
+breath as long as possible sounding and vibrating not only forward but
+back in the mouth, since the resonance of the tone is spread upon and
+above the entire palate, extends from the front teeth to the wall of
+the throat. He must concern himself with preparing for the vibrations,
+pliantly and with mobility, a powerful, elastic, almost floating
+envelope, which must be filled entirely, with the help of a continuous
+vocal mixture,&#8212;a mixture of which the components are indistinguishable.
+</p>
+
+
+
+
+<hr style="width: 65%;" />
+<p><span class="pagenum"><a name="Page_35" id="Page_35">[Pg 35]</a></span></p>
+<h2><a name="SECTION_IV" id="SECTION_IV"></a>SECTION IV</h2>
+
+<h3>THE SINGER'S PHYSIOLOGICAL STUDIES</h3>
+
+
+<p><span class="smcap">Science</span> has explained all the processes of the vocal organs in their
+chief functions, and many methods of singing have been based upon
+physiology, physics, and phonetics. To a certain extent scientific
+explanations are absolutely necessary for the singer&#8212;as long as they
+are confined to the sensations in singing, foster understanding of the
+phenomenon, and summon up an intelligible picture. This is what
+uninterpreted sensations in singing cannot do; of which fact the
+clearest demonstration is given by the expressions, &quot;bright,&quot; &quot;dark,&quot;
+&quot;nasal,&quot; &quot;singing forward,&quot; etc., that I began by mentioning and that
+are almost always falsely understood. They are quite meaningless
+without the practical teachings of the sensations of such singers as
+have di<span class="pagenum"><a name="Page_36" id="Page_36">[Pg 36]</a></span>rected their attention to them with a knowledge of the end in
+view, and are competent to correlate them with the facts of science.</p>
+
+<p>The singer is usually worried by the word &quot;physiology&quot;; but only
+because he does not clearly understand the limits of its teachings.
+The singer need, will, and must, know a little of it. We learn so much
+that is useless in this life, why not learn that which is of the
+utmost service to us? What, in brief, does it mean? Perfect
+consciousness in moving the vocal organs, and through the aid of the
+ear, in placing them at will in certain relations with each other; the
+fact that the soft palate can be drawn up against the hard palate;
+that the tongue is able to take many different positions, and that the
+larynx, by the assistance of the vocal sound oo, takes a low position,
+and by that of the vowel &#257; a high one; that all muscles contract in
+activity and in normal inactivity are relaxed; that we must strengthen
+them by continued vocal gymnastics so that they may be able to
+sus<span class="pagenum"><a name="Page_39" id="Page_39">[Pg 39]</a></span>tain long-continued exertion; and must keep them elastic and use
+them so. It includes also the well-controlled activity of diaphragm,
+chest, neck, and face muscles. This is all that physiology means for
+the vocal organs. Since these things all operate together, one without
+the others can accomplish nothing; if the least is lacking, singing is
+quite impossible, or is entirely bad.</p>
+
+<p style="text-align: center">&#160;</p>
+
+<p style="text-align: center">
+<img src="images/image02.jpg" width="283" height="400" alt="resonance" title="resonance" /></p>
+
+<p style="text-align: center"><a href="images/i002.jpg">[Enlarge]</a></p>
+
+<p style="text-align: center">&#160;</p>
+
+<p>Physiology is concerned also with muscles, nerves, sinews, ligaments,
+and cartilage, all of which are used in singing, but all of which we
+cannot feel. We cannot even feel the vocal cords. Certainly much
+depends for the singer upon their proper condition; and whether as
+voice producers or breath regulators, we all have good reason always
+to spare them as much as possible, and never to overburden them.</p>
+
+<p>Though we cannot feel the vocal cords, we can, nevertheless, hear, by
+observing whether the tone is even,&#8212;in the emission of the breath
+under control,&#8212;whether they are per<span class="pagenum"><a name="Page_40" id="Page_40">[Pg 40]</a></span>forming their functions properly.
+Overburdening them through pressure, or emitting of the breath without
+control, results in weakening them. The irritation of severe coughing,
+thoughtless talking or shouting immediately after singing may also set
+up serious congestion of the vocal cords, which can be remedied only
+through slow gymnastics of the tongue and laryngeal muscles, by the
+pronunciation of vowels in conjunction with consonants. Inactivity of
+the vocal organs will not cure it, or perhaps not till after the lapse
+of years.</p>
+
+<p>A good singer can <i>never</i> lose his voice. Mental agitation or severe
+colds can for a time deprive the singer of the use of his vocal
+organs, or seriously impair them. Only those who have been singing
+without consciously correct use of their organs can become
+disheartened over it; those who know better will, with more or less
+difficulty, cure themselves, and by the use of vocal gymnastics bring
+their vocal organs into condition again.<span class="pagenum"><a name="Page_41" id="Page_41">[Pg 41]</a></span></p>
+
+<p>For this reason, if for no other, singers should seek to acquire
+accurate knowledge of their own organs, as well as of their functions,
+that they may not let themselves be burnt, cut, and cauterized by
+unscrupulous physicians. Leave the larynx and all connected with it
+alone; strengthen the organs by daily vocal gymnastics and a healthy,
+<i>sober</i> mode of life; beware of catching cold after singing; do not
+sit and talk in restaurants.</p>
+
+<p>Students of singing should use the early morning hours, and fill their
+days with the various branches of their study. Sing every day only so
+much, that on the next day you can practise again, feeling fresh and
+ready for work, as <i>regular</i> study requires. Better one hour every day
+than ten to-day and none tomorrow.</p>
+
+<p>The public singer should also do his practising early in the day, that
+he may have himself well in hand by evening. How often one feels
+indisposed in the morning! Any<span class="pagenum"><a name="Page_42" id="Page_42">[Pg 42]</a></span> physical reason is sufficient to make
+singing difficult, or even impossible; it need not be connected
+necessarily with the vocal organs; in fact, I believe it very rarely
+is. For this reason, in two hours everything may have changed.</p>
+
+<p>I remember a charming incident in New York. Albert Niemann, our heroic
+tenor, who was to sing <i>Lohengrin</i> in the evening, complained to me in
+the morning of severe hoarseness. To give up a r&#244;le in America costs
+the singer, as well as the director, much money. My advice was to
+wait.</p>
+
+<p><i>Niemann.</i> What do you do, then, when you are hoarse?</p>
+
+<p><i>I.</i> Oh, I practise and see whether it still troubles me.</p>
+
+<p><i>Niem.</i> Indeed; and what do you practise?</p>
+
+<p><i>I.</i> Long, slow scales.</p>
+
+<p><i>Niem.</i> Even if you are hoarse?</p>
+
+<p><i>I.</i> Yes; if I want to sing, or have to, I try it.</p>
+
+<p><i>Niem.</i> Well, what are they? Show me.<span class="pagenum"><a name="Page_43" id="Page_43">[Pg 43]</a></span></p>
+
+<p><i>The great scale, the infallible cure.</i></p>
+
+<p>I showed them to him; he sang them, with words of abuse in the
+meantime; but gradually his hoarseness grew better. He did not send
+word of his inability to appear in the evening, but sang, and better
+than ever, with enormous success.</p>
+
+<p>I myself had to sing <i>Norma</i> in Vienna some years ago, and got up in
+the morning quite hoarse. By nine o'clock I tried my infallible
+remedy, but could not sing above A flat, though in the evening I
+should have to reach high D flat and E flat. I was on the point of
+giving up, because the case seemed to me so desperate. Nevertheless, I
+practised till eleven o'clock, half an hour at a time, and noticed
+that I was gradually getting better. In the evening I had my D flat
+and E flat at my command and was in brilliant form. People said they
+had seldom heard me sing so well.</p>
+
+<p>I could give numberless instances, all going to show that you never
+can tell early<span class="pagenum"><a name="Page_44" id="Page_44">[Pg 44]</a></span> in the day how you are going to feel in the evening. I
+much prefer, for instance, not to feel so very well early in the day,
+because it may easily happen that the opposite may be the case later
+on, which is much less agreeable. If you wish to sing only when you
+are in good form, you must excuse yourself ninety-nine times out of a
+hundred. You must learn to know your own vocal organs thoroughly and
+be able to sing; must do everything that is calculated to keep you in
+good condition. This includes chiefly rest for the nerves, care of the
+body, and gymnastics of the voice, that you may be able to defy all
+possible chances.</p>
+
+<p>Before all, never neglect to practise every morning, regularly, proper
+singing exercises through the whole compass of the voice. Do it with
+<i>painful</i> seriousness; and never think that vocal gymnastics weary the
+singer. On the contrary, they bring refreshment and power of endurance
+to him who will become master of his vocal organs.
+</p>
+
+
+<hr style="width: 65%;" />
+<p><span class="pagenum"><a name="Page_45" id="Page_45">[Pg 45]</a></span></p>
+<h2><a name="SECTION_V" id="SECTION_V"></a>SECTION V</h2>
+
+<h3>EQUALIZING THE VOICE; BREATH; FORM</h3>
+
+
+<p><span class="smcap">Through</span> the lowering of the pillars of the fauces, which is the same
+as raising the soft palate, the outflowing breath is divided into two
+parts.</p>
+
+<p>I have sketched the following representation of it:&#8212;</p>
+
+<p>Division of the breath.</p>
+
+<p>By raising the pillars of the fauces, which closes off the throat from
+the cavities of the head, the chest voice is produced; that is, the
+lowest range of all kinds of voices. This occurs when the main stream
+of breath, spreading over against the high-arched palate, completely
+utilizes all its resonating surfaces. This is the palatal resonance,
+in which there is the most power (Plate A).</p>
+
+<p style="text-align: center">&#160;</p>
+
+<p style="text-align: center">
+<a name="Plate_A">
+<img src="images/image03.jpg" width="248" height="400" alt="Plate A" title="Plate A" /></a></p>
+
+<p style="text-align: center"><a href="images/i003.jpg">[Enlarge]</a></p>
+
+<p style="text-align: center">&#160;</p>
+
+<p>When the soft palate is raised high behind<span class="pagenum"><a name="Page_46" id="Page_46">[Pg 46]</a></span> the nose, the pillars of
+the fauces are lowered, and this frees the way for the main stream of
+breath to the head cavities. This now is poured out, filling the nose,
+forehead, and head cavities. This makes the head tone. Called head
+tone in women, falsetto in men, it is the highest range of all classes
+of voices, the resonance of the head cavities (Plate C).</p>
+
+<p style="text-align: center">&#160;</p>
+
+<p style="text-align: center">
+<img src="images/image05.jpg" width="248" height="400" alt="Plate C" title="Plate C" /></p>
+
+<p style="text-align: center"><a href="images/i005.jpg">[Enlarge]</a></p>
+
+<p style="text-align: center">&#160;</p>
+
+<p>Between these two extreme functions of the palate and breath, one
+stream of breath gives some of its force to the other; and when
+equally divided they form the medium range of all classes of voices
+(Plate B).</p>
+
+<p style="text-align: center">&#160;</p>
+
+<p style="text-align: center">
+<a name="Plate_B">
+<img src="images/image04.jpg" width="222" height="400" alt="Plate B" title="Plate B" /></a></p>
+
+<p style="text-align: center"><a href="images/i004.jpg">[Enlarge]</a></p>
+
+<p style="text-align: center">&#160;</p>
+
+<p>The singer must always have in his mind's eye a picture of this
+divided stream of breath.</p>
+
+<p>As I have already said, in the lowest tones of all voices the main
+stream of breath is projected against the palate; the pillars of the
+fauces, being stretched to their fullest extent, and drawn back to the
+wall of the throat, allow <i>almost</i> no breath to reach the head
+cavities.</p>
+
+<p>I say <i>almost</i> none, for, as a matter of fact,<span class="pagenum"><a name="Page_53" id="Page_53">[Pg 53]</a></span> a branch stream of
+breath, however small, must be forced back, behind and above the
+pillars, first into the nose, later into the forehead and the cavities
+of the head. This forms the overtones (head tones) which must vibrate
+with all tones, even the lowest. These overtones lead over from the
+purest chest tones, slowly, with a constantly changing mixture of both
+kinds of resonance, first to the high tones of bass and baritone, the
+low tones of tenor, the middle tones of alto and soprano, finally, to
+the purest head tones, the highest tones of the tenor-falsetto or
+soprano. (<a href="#Plate_A">See the plates</a>.)</p>
+
+<p>The extremely delicate gradation of the scale of increase of the
+resonance of the head cavities in ascending passages, and of increase
+of palatal resonance in descending, depends upon the skill to make the
+palate act elastically, and to let the breath, under control of the
+abdominal and chest pressure, flow uninterruptedly in a gentle stream
+into the resonating chambers. Through the previous<span class="pagenum"><a name="Page_54" id="Page_54">[Pg 54]</a></span> preparation of the
+larynx and tongue, it must reach its resonating surfaces as though
+passing through a cylinder, and must circulate in the form previously
+prepared for it, proper for each tone and vowel sound. This form
+surrounds it gently but firmly. The supply of air remains continuously
+the same, <i>rather increasing than diminishing</i>, notwithstanding the
+fact that the quantity which the abdominal pressure has furnished the
+vocal cords from the supply chamber is a very small one. That it may
+not hinder further progression, the form must remain elastic and
+sensitive to the most delicate modification of the vowel sound. If the
+tone is to have life, it must always be able to conform to any vowel
+sound. The least displacement of the form or interruption of the
+breath breaks up the whirling currents and vibrations, and
+consequently affects the tone, its vibrancy, its strength, and its
+duration.</p>
+
+<p>In singing a continuous passage upward, the form becomes higher and
+more pliant; the<span class="pagenum"><a name="Page_55" id="Page_55">[Pg 55]</a></span> most pliable place on the palate is drawn upward.
+(<a href="#Plate_A">See Plate A</a>.)</p>
+
+<p>When I sing a single tone I can give it much more power, much more
+palatal or nasal resonance, than I could give in a series of ascending
+tones. In a musical figure I must attack the lowest note in such a way
+that I can easily reach the highest. I must, therefore, give it much
+more head tone than the single tone requires. (Very important.) When
+advancing farther, I have the feeling on the palate, above and behind
+the nose, toward the cavities of the head, of a strong but very
+elastic rubber ball, which I fill like a balloon with my breath
+streaming up far back of it. And this filling keeps on in even
+measure. That is, the branch stream of the breath, which flows into
+the head cavities, must be free to flow very strongly without
+hindrance. (<a href="#Plate_B">See Plate B</a>.)</p>
+
+<p>I can increase the size of this ball above, to a pear shape, as soon
+as I think of singing higher; and, indeed, I heighten the form<span class="pagenum"><a name="Page_56" id="Page_56">[Pg 56]</a></span>
+<i>before</i> I go on from the tone just sung, making it, so to speak,
+<i>higher</i> in that way, and thus keep the form, that is, the
+&quot;propagation form,&quot; ready for the next higher tone, which I can now
+reach easily, as long as no interruption in the stream of breath
+against the mucous membrane can take place. For this reason the breath
+must <i>never be held back</i>, but must always be emitted in a more and
+more powerful stream. The higher the tone, the more numerous are the
+vibrations, the more rapidly the whirling currents circulate, and the
+more unchangeable must the form be.</p>
+
+<p>Catarrh often dries up the mucous membrane; then the tones are
+inclined to break off. At such times one must sing with peculiar
+circumspection, and with an especially powerful stream of breath
+behind the tone: it is better to take breath frequently. In a
+descending scale or figure I must, on the contrary, preserve very
+carefully the form taken for the highest tone. I must not go higher,
+nor yet, under any circumstances, lower, but<span class="pagenum"><a name="Page_61" id="Page_61">[Pg 61]</a></span> must imagine that I
+remain at the same pitch, and must suggest to myself that I am
+striking the same tone again. The form may gradually be a little
+modified at the upper end: that is, the soft palate is lowered very
+carefully behind the nose: keeping almost always to the form employed
+for the highest tone, sing the figure to its end, toward the nose,
+with the help of the vowel <i>oo</i>. (This auxiliary vowel <i>oo</i> means
+nothing more than that the larynx is slowly lowered in position.)</p>
+
+<p>When this happens, the resonance of the head cavities is diminished,
+that of the palate increased; for the soft palate sinks, and the
+pillars of the fauces are raised more and more. Yet the head tone must
+not be entirely free from palatal resonance. Both remain to the last
+breath united, mutually supporting each other in ascending and
+descending passages, and alternately but inaudibly increasing and
+diminishing.</p>
+
+<p>These things go to make up the form:<span class="pagenum"><a name="Page_62" id="Page_62">[Pg 62]</a></span>&#8212;</p>
+
+<p>The raising and lowering of the soft palate, and the corresponding
+lowering and raising of the pillars of the fauces.</p>
+
+<p>The proper position of the tongue: the tip rests on the lower front
+teeth&#8212;mine even as low as the roots of the teeth.</p>
+
+<p>The back of the tongue must stand high and free from the throat, ready
+for any movement. A furrow must be formed in the tongue, which is
+least prominent in the lowest tones, and in direct head tones may even
+completely disappear. As soon as the tone demands the palatal
+resonance, the furrow must be made prominent and kept so. In my case
+it can always be seen. This is one of the most important matters, upon
+which too much emphasis can hardly be laid. As soon as the furrow in
+the tongue shows itself, the tone must sound right; for then the mass
+of the tongue is kept away from the throat, and, since its sides are
+raised, it is kept out of the way of the tone.</p>
+
+<p style="text-align: center">&#160;</p>
+
+<p style="text-align: center">
+<img src="images/image06.jpg" width="289" height="300" alt="tongue" title="tongue" /></p>
+
+<p style="text-align: center"><a href="images/i006.jpg">[Enlarge]</a></p>
+
+<p style="text-align: center">&#160;</p>
+
+<p style="text-align: center">
+<img src="images/image07.jpg" width="241" height="400" alt="sensation" title="sensation" /></p>
+
+<p style="text-align: center"><a href="images/i007.jpg">[Enlarge]</a></p>
+
+<p style="text-align: center">&#160;</p>
+
+<p>It lies flattest in the lowest tones because<span class="pagenum"><a name="Page_67" id="Page_67">[Pg 67]</a></span> the larynx then is in
+a very low position, and thus is out of its way.</p>
+
+<p style="text-align: center">&#160;</p>
+
+<p style="text-align: center">
+<img src="images/image08.jpg" width="241" height="400" alt="progression of tones" title="progression of tones" /></p>
+
+<p style="text-align: center"><a href="images/i008.jpg">[Enlarge]</a></p>
+
+<p style="text-align: center">&#160;</p>
+
+<p style="text-align: center">
+<img src="images/image09.jpg" width="229" height="400" alt="propagation form" title="propagation form" /></p>
+
+<p style="text-align: center"><a href="images/i009.jpg">[Enlarge]</a></p>
+
+<p style="text-align: center">&#160;</p>
+
+<p>Furthermore, there is the unconstrained position of the larynx, which
+must be maintained without pressure of the throat muscles. From it the
+breath must stream forth evenly and uninterruptedly, to fill the form
+prepared for it by the tongue and palate and supported by the throat
+muscles.</p>
+
+<p>This support must not, however, depend in the least upon
+<i>pressure</i>,&#8212;for the vibrating breath must float above,&#8212;but upon the
+greatest elasticity. One must play with the muscles, and be able to
+contract and relax them at pleasure, having thus perfect mastery over
+them. For this incessant practice is required, increasing control of
+the breath through the sense of hearing and the breath pressure.</p>
+
+<p>At first a very strong will power is needed to hold the muscles tense
+without pressure; that is, to let the tone, as it were, soar through
+the throat, mouth, or cavities of the head.<span class="pagenum"><a name="Page_68" id="Page_68">[Pg 68]</a></span></p>
+
+<p>The stronger the improper pressure in the production of the tone, the
+more difficult it is to get rid of. The result is simply, in other
+words, a strain. The contraction of the muscles must go only so far
+that they can be slowly relaxed; that is, can return to their normal
+position <i>easily</i>. Never must the neck be swelled up, or the veins in
+it stand out. Every convulsive or painful feeling is wrong.
+</p>
+
+
+
+<hr style="width: 65%;" />
+<p><span class="pagenum"><a name="Page_69" id="Page_69">[Pg 69]</a></span></p>
+<h2><a name="SECTION_VI" id="SECTION_VI"></a>SECTION VI</h2>
+
+<h3>THE ATTACK</h3>
+
+
+<p><span class="smcap">To</span> attack a tone, the breath must be directed to a focal point on the
+palate, which lies under the critical point for each different tone;
+this must be done with a certain decisiveness. There must, however, be
+no pressure on this place; for the overtones must be able to soar
+above, and sound with, the tone. The palate has to furnish, besides,
+the top cover against which the breath strikes, also an extremely
+elastic floor for the breath sounding above it against the hard palate
+or in the nose.</p>
+
+<p>This breath, by forming the overtones, makes certain the connection
+with the resonance of the head cavities.</p>
+
+<p>In order to bring out the color of the tone the whirling currents must
+vivify all<span class="pagenum"><a name="Page_70" id="Page_70">[Pg 70]</a></span> the vowel sounds that enter into it, and draw them into
+their circles with an ever-increasing, soaring tide of sound.</p>
+
+<p>The duration of the tone must be assured by the gentle but
+uninterrupted outpouring of the breath behind it. Its strength must be
+gained by the breath pressure and the focal point on the palate, by
+the complete utilization of the palatal resonance; without, however,
+injuring the resonance of the head cavities. (See plate, representing
+the attack.)<span class="pagenum"><a name="Page_71" id="Page_71">[Pg 71]</a></span></p>
+
+<p style="text-align: center">&#160;</p>
+
+<p style="text-align: center">
+<img src="images/image10.jpg" width="234" height="400" alt="attack" title="attack" /></p>
+
+<p style="text-align: center"><a href="images/i010.jpg">[Enlarge] </a></p>
+
+
+
+<hr style="width: 65%;" />
+<p><span class="pagenum"><a name="Page_73" id="Page_73">[Pg 73]</a></span></p>
+<h2><a name="SECTION_VII" id="SECTION_VII"></a>SECTION VII</h2>
+
+<h3>NASAL. NASAL SINGING</h3>
+
+
+<p><span class="smcap">By</span> raising the back of the tongue toward the soft palate and lowering
+the soft palate toward the tongue, we produce nasal sound, such as is
+heard in the pronunciation of the word &quot;hanger,&quot; for instance. The air
+is then expelled chiefly through the nose. The nasal sound can be much
+exaggerated&#8212;something that very rarely happens; it can be much
+neglected&#8212;something that very often happens. Certain it is that it is
+not nearly enough availed of. That is my own everyday experience.</p>
+
+<p>We Germans have only small opportunity to make the acquaintance of the
+nasal sound; we know it in only a few words: &quot;E<i>ng</i>el,&quot; &quot;la<i>ng</i>e,&quot;
+&quot;ma<i>ng</i>el,&quot; etc.,&#8212;always where <i>ng</i> occurs before or after a vowel.<span class="pagenum"><a name="Page_74" id="Page_74">[Pg 74]</a></span></p>
+
+<p>The French, on the contrary, always sing and speak nasally, with the
+pillar of the fauces raised high, and not seldom exaggerate it. On
+account of the rounding up of the whole soft palate, which, through
+the power of habit, is cultivated especially by the French to an
+extraordinary degree, and which affords the breath an enormous space
+as a resonating surface to act upon, their voices often sound
+tremendous. The tenor Silva is a good example of this. Such voices
+have only the one drawback of easily becoming monotonous. At first
+the power of the organ astonishes us; the next time we are
+disappointed&#8212;the tone color remains always the same. The tone often
+even degenerates into a hollow quality.</p>
+
+<p style="text-align: center">&#160;</p>
+
+<p style="text-align: center">
+<img src="images/image11.jpg" width="246" height="300" alt="nasal tone" title="nasal tone" /></p>
+
+<p style="text-align: center"><a href="images/i011.jpg">[Enlarge]</a></p>
+
+<p style="text-align: center">&#160;</p>
+
+<p>On the other hand, voices that are not sufficiently nasal sound clear
+and expressionless. Madame Melba, for instance, whose voice is
+cultivated to favor the head tones, and sounds equally well in all its
+ranges, apparently lowers the pillars of the fauces too<span class="pagenum"><a name="Page_77" id="Page_77">[Pg 77]</a></span> much, and
+has her chief resonance in the head cavities; she cannot draw upon the
+palatal resonance for single accents of expression. Consequently she
+loses in vocal color. This procedure, as soon as it becomes a habit,
+results in monotony.</p>
+
+<p>In the first case somewhat less, in the second somewhat more, nasal
+resonance would help to a greater variety of effect.</p>
+
+<p>There are singers, too, who pursue the middle path with consummate
+art. Thus Madame Sembrich, in recent years, appears to have devoted
+very special study to nasal tones, whereby her voice, especially in
+the middle register, has gained greatly in warmth.</p>
+
+<p>To fix the pupil's attention on the nasal tone and the elasticity of
+the palate, he should often be given exercises with French words.
+</p>
+
+
+
+
+<hr style="width: 65%;" />
+<p><span class="pagenum"><a name="Page_78" id="Page_78">[Pg 78]</a></span></p>
+<h2><a name="SECTION_VIII" id="SECTION_VIII"></a>SECTION VIII</h2>
+
+<h3>SINGING TOWARD THE NOSE. HEAD VOICE</h3>
+
+
+<p><span class="smcap">When</span> the peak of the softest part of the palate is placed forward
+toward the nose, instead of being drawn up high behind the nose, as in
+the head voice (see plate, head voice and nasal tone), it forms a kind
+of nasal production which, as I have already said, cannot be studied
+enough, because it produces very noble tonal effects and extraordinary
+connections. It ought always to be employed. By it is effected the
+connection of tones with each other, from the front teeth back to a
+point under the nose; from the lower middle tones to the head tones.
+In truth, all the benefit of tonal connection depends upon this
+portion of the soft palate; that is, upon its conscious employment.</p>
+
+<p>This is all that singers mean when they<span class="pagenum"><a name="Page_79" id="Page_79">[Pg 79]</a></span> speak of &quot;nasal
+singing&quot;&#8212;really only singing toward the nose. The soft palate placed
+toward the nose offers a resonating surface for the tone.</p>
+
+<p>The reason why teachers tell their pupils so little of this is that
+many singers are quite ignorant of what nasal singing means, and are
+tormented by the idea of &quot;singing toward the nose,&quot; when by chance
+they hear something about it. They generally regard the voice as one
+complete organ acting by itself, which is once for all what it is.
+What can be made of it through knowledge of the functions of all the
+co&#246;perating organs they know nothing of.</p>
+
+<p>Blind voices are often caused by the exaggerated practice of closing
+off the throat too tightly from the head cavities; that is, drawing
+the pillars of the fauces too far toward the wall of the throat. The
+large resonating chamber thus formed yields tones that are powerful
+close at hand, but they do not carry, because they are poor in
+overtones.<span class="pagenum"><a name="Page_80" id="Page_80">[Pg 80]</a></span> The mistake consists in the practice of stretching the
+pillars too widely in the higher vocal ranges, also. In proportion as
+the pillars are extended, the breath spreads over the entire palate,
+instead of being concentrated on only one point of it, and bringing at
+the same time the resonance of the head cavities into play. The soft
+palate must first be drawn up to, then behind, the nose, and the
+attack of the higher tones be transferred thither. The pillars of the
+fauces must necessarily be relaxed by this action of the soft palate.
+Thereby breath is introduced into the cavities of the head to form the
+overtones, which contribute brilliancy and freshness to the voice.</p>
+
+<p>Many singers persist in the bad habit here described, as long as
+nature can endure it; in the course of time, however, even with the
+most powerful physiques, they will begin to sing noticeably flat; with
+less powerful, the fatal tremolo will make its appearance, which
+results in the ruin of so many singers.</p>
+
+<p style="text-align: center">&#160;</p>
+
+<p style="text-align: center">
+<img src="images/image12.jpg" width="268" height="400" alt="soprano and tenor sensations" title="soprano and tenor sensations" /></p>
+
+<p style="text-align: center"><a href="images/i012.jpg">[Enlarge]</a></p>
+
+<p style="text-align: center">&#160;</p>
+
+<p style="text-align: center">
+<img src="images/image13.jpg" width="400" height="243" alt="nasal tone" title="nasal tone" /></p>
+
+<p style="text-align: center"><a href="images/i013.jpg">[Enlarge] </a></p>
+
+
+
+<hr style="width: 65%;" />
+<p><span class="pagenum"><a name="Page_86" id="Page_86">[Pg 86]</a></span></p>
+<h2><a name="SECTION_IX" id="SECTION_IX"></a>SECTION IX</h2>
+
+<h3>THE HEAD VOICE</h3>
+
+
+<p><span class="smcap">The</span> head tone signifies, for all voices, from the deepest bass to the
+highest soprano,&#8212;excepting for the fact that it furnishes the
+overtones for each single tone of the whole vocal gamut,&#8212;youth. A
+voice without vibrancy is an <i>old</i> voice. The magic of youth,
+freshness, is given by the overtones that sound with every tone.</p>
+
+<p>So to utilize the head voice (resonance of the head cavities) that
+every tone shall be able to &quot;carry&quot; and shall remain high enough to
+reach higher tones easily, is a difficult art, without which, however,
+the singer cannot reckon upon the durability of his voice. Often
+employed unconsciously, it is lost through heedlessness, mistaken
+method, or ignorance; and it can hardly<span class="pagenum"><a name="Page_87" id="Page_87">[Pg 87]</a></span> ever be regained, or, if at
+all, only through the greatest sacrifice of time, trouble, and
+patience.</p>
+
+<p>The <i>pure</i> head voice (the third register) is, on account of the
+thinness that it has by nature, the neglected step-child of almost all
+singers, male and female; its step-parents, in the worst significance
+of the word, are most singing teachers, male and female. It is
+produced by the complete lowering of the pillars of the fauces, while
+the softest point of the palate&#8212;behind the nose&#8212;is thrown up very
+high, seemingly, almost into the head; in the highest position, as it
+were, above the head.</p>
+
+<p>The rear of the tongue stands high, but is formed into a furrow, in
+order that the mass of the tongue may not be in the way, either in the
+throat or in the mouth. In the very highest falsetto and head tones
+the furrow is pretty well filled out, and then no more breath at all
+reaches the palatal resonance.<span class="pagenum"><a name="Page_88" id="Page_88">[Pg 88]</a></span></p>
+
+<p>The larynx stands high&#8212;mine leans over to one side. (See plates of
+larynx.)</p>
+
+<p style="text-align: center">&#160;</p>
+
+<p style="text-align: center">
+<a name="Larynx">
+<img src="images/image14.jpg" width="400" height="230" alt="larynx" title="larynx" /></a></p>
+
+<p style="text-align: center"><a href="images/i014.jpg">[Enlarge]</a></p>
+
+<p style="text-align: center">&#160;</p>
+
+<p>The vocal cords, which we cannot feel, now approach very near each
+other. The pupil should not read about them until he has learned to
+hear correctly. I do not intend to write a physiological work, but
+simply to attempt to examine certain infallible vocal sensations of
+the singer; point out ways to cure evils, and show how to gain a
+correct understanding of that which we lack.</p>
+
+<p>Up to a certain pitch, with tenors as well as with sopranos, the head
+tones should be mixed with palatal resonance. With tenors this will be
+a matter of course, though with them the chest tones are much abused;
+with sopranos, however, a judicious mixture may be recommended because
+more expression is required (since the influence of Wagner has become
+paramount in interpreting the meaning of a composition, especially of
+the words) than in the brilliant fireworks of former<span class="pagenum"><a name="Page_91" id="Page_91">[Pg 91]</a></span> times. The head
+voice, too, must not be regarded as a definite register of its own,
+which is generally produced in the middle range through too long a
+persistence in the use of the palatal and nasal resonance. If it is
+suddenly heard alone, after forcing tones that have preceded it, which
+is not possible under other circumstances, it is of course noticeably
+thin, and stands out to its disadvantage&#8212;like every other sharply
+defined register&#8212;from the middle tones. In the formation of the voice
+no &quot;register&quot; should exist or be created; the voice must be made even
+throughout its entire range. I do not mean by this that I should sing
+neither with chest tones nor with head tones. On the contrary, the
+practised artist should have at his command all manner of different
+means of expression, that he may be able to use his single tones,
+according to the expression required, with widely diverse qualities of
+resonance. This, too, must be cared for in his studies. But these
+studies, because they<span class="pagenum"><a name="Page_92" id="Page_92">[Pg 92]</a></span> must fit each individual case, according to the
+genius or talent of the individual, can be imparted and directed only
+by a good teacher.</p>
+
+<p><span class="pagenum"><a name="Page_93" id="Page_93">[Pg 93]</a></span></p><p>The head voice, when its value is properly appreciated, is the most
+valuable possession of all singers, male and female. It should not be
+treated as a Cinderella, or as a last resort,&#8212;as is often done too
+late, and so without results, because too much time is needed to
+regain it, when once lost,&#8212;but should be cherished and cultivated as
+a guardian angel and guide, like no other. Without its aid all voices
+lack brilliancy and carrying power; they are like a head without a
+brain. Only by constantly summoning it to the aid of all other
+registers is the singer able to keep his voice fresh and youthful.
+Only by a careful application of it do we gain that power of endurance
+which enables us to meet the most fatiguing demands. By it alone can
+we effect a complete equalization of the whole compass of all voices,
+and extend that compass.</p>
+
+<p>This is the great secret of those singers who keep their voices young
+till they reach an advanced age. Without it all voices of which great
+exertions are demanded infallibly meet disaster. Therefore, the motto
+must be always, practice, and again, practice, to keep one's powers
+uninjured; practice brings freshness to the voice, strengthens the
+muscles, and is, for the singer, far more interesting than any musical
+composition.</p>
+
+<p>If in my explanations I frequently repeat myself, it is done not
+unintentionally, but deliberately, because of the difficulty of the
+subject, as well as of the superficiality and negligence of so many
+singers who, after once hastily glancing through such a treatise,&#8212;if
+they consider it worth their while at all to inform themselves on the
+subject,&#8212;think they have done enough with it.</p>
+
+<p>One must read continually, study constantly by one's self, to gain
+even a faint idea of the difficulty of the art of singing, of managing
+the voice, and even of one's own<span class="pagenum"><a name="Page_94" id="Page_94">[Pg 94]</a></span> organs and mistakes, which are one's
+second self. The phenomenon of the voice is an elaborate complication
+of manifold functions which are united in an extremely limited space,
+to produce a single tone; functions which can only be heard, scarcely
+felt&#8212;indeed, should be felt as little as possible. Thus, in spite of
+ourselves, we can only come back again to the point from which we
+started, as in an eddy, repeating the explanations of the single
+functions, and relating them to each other.</p>
+
+<p>Since in singing we sense none of the various activities of the
+cartilage, muscles, ligaments, and tendons that belong to the vocal
+apparatus, feel them only in their co&#246;peration, and can judge of the
+correctness of their workings only through the ear, it would be absurd
+to think of them while singing. We are compelled, in spite of
+scientific knowledge, to direct our attention while practising, to the
+sensations of the voice, which are the only ones we can become<span class="pagenum"><a name="Page_95" id="Page_95">[Pg 95]</a></span> aware
+of,&#8212;sensations which are confined to the very palpable functions of
+the organs of breathing, the position of the larynx, of the tongue,
+and of the palate, and finally, to the sensation of the resonance of
+the head cavities. The perfect tone results from the combined
+operations of all these functions, the sensations of which I undertake
+to explain, and the control of which the ear alone can undertake.</p>
+
+<p>This is the reason why it is so important to learn to hear one's self,
+and to sing in such a way that one can always so hear.</p>
+
+<p>Even in the greatest stress of emotion the power of self-control must
+never be lost; you must never allow yourself to sing in a slovenly,
+that is, in a heedless, way, or to exceed your powers, or even to
+reach their extreme limit. That would be synonymous with roughness,
+which should be excluded from every art, especially in the art of
+song. The listener must gain a pleasing impression from every tone,
+every expression of<span class="pagenum"><a name="Page_96" id="Page_96">[Pg 96]</a></span> the singer; much more may be given if desired.</p>
+
+<p>Strength must not be confounded with roughness; and the two must not
+go hand in hand together. Phenomenal beings may perhaps be permitted
+to go beyond the strength of others; but to the others this must
+remain forbidden. It cannot become a regular practice, and is best
+limited to the single phenomenon. We should otherwise soon reach the
+point of crudest realism, from which at best we are not far removed.
+Roughness will never attain artistic justification, not even in the
+case of the greatest individual singers, because it is an offence.</p>
+
+<p>The public should witness from interpretative art only what is good
+and noble on which to form its taste; there should be nothing crude or
+commonplace put before it, which it might consider itself justified in
+taking as an example.</p>
+
+<p>Of the breath sensation I have already spoken at length. I must add
+that it is<span class="pagenum"><a name="Page_97" id="Page_97">[Pg 97]</a></span> often very desirable in singing to breathe through the
+nose with the mouth closed; although when this is done, the raising of
+the palate becomes less certain, as it happens somewhat later than
+when the breath is taken with the mouth open. It has, however, this
+disadvantage, that neither cold air nor dust is drawn into the larynx
+and air passages. I take pleasure in doing it very often. At all
+events, the singer should often avail himself of it.</p>
+
+<p>We feel the larynx when the epiglottis springs up (&quot;stroke of the
+glottis,&quot; if the tone is taken from below upward). We can judge
+whether the epiglottis springs up quickly enough if the breath comes
+out in a full enough stream to give the tone the necessary resonance.
+The low position of the larynx can easily be secured by pronouncing
+the vowel <i>oo</i>; the high, by pronouncing the vowel <i>&#257;</i>. Often
+merely thinking of one or the other is enough to put the larynx,
+tongue, and palate in the right relations to each<span class="pagenum"><a name="Page_98" id="Page_98">[Pg 98]</a></span> other. Whenever I
+sing in a high vocal range, I can plainly feel the larynx rise and
+take a diagonal position. (<a href="#Larynx">See plate</a>.)</p>
+
+<p>The movement is, of course, very slight. Yet I have the feeling in my
+throat as if everything in it was stretching. I feel the pliability of
+my organs plainly as soon as I sing higher.
+</p>
+
+
+
+<hr style="width: 65%;" />
+<p><span class="pagenum"><a name="Page_99" id="Page_99">[Pg 99]</a></span></p>
+<h2><a name="SECTION_X" id="SECTION_X"></a>SECTION X</h2>
+
+<h3>SENSATION AND POSITION OF THE TONGUE</h3>
+
+
+<p><span class="smcap">We</span> feel the placing of its tip against or beneath the front teeth; and
+place the tip very low, so that it really curves over in front. (<a href="#Tongue">See
+plate</a>.)</p>
+
+<p>Its hinder part must be drawn back toward the palate, in the
+pronunciation of every letter.</p>
+
+<p>Furthermore, by looking in the mirror we can <i>see</i> that the sides of
+the tongue are raised as soon as we wish to form a furrow in it; that
+is, as we <i>must</i> do to produce the palatal resonance. (Only in the
+head tone&#8212;that is, the use of the resonance of the head cavities
+without the added palatal resonance&#8212;has the tongue no furrow; it
+must, however, lie very high, since otherwise its mass, when it lies
+flat, presses against the larynx and<span class="pagenum"><a name="Page_100" id="Page_100">[Pg 100]</a></span> produces pinched or otherwise
+disagreeable tones.)</p>
+
+<p>The best way is to get the mass of the tongue out of the way by
+forming the furrow in it. In high notes, when the larynx must stand as
+high as possible, the back of the tongue also must stand very high;
+but since there is a limit to this, we are often compelled to make the
+larynx take a lower position.</p>
+
+<p style="text-align: center">&#160;</p>
+
+<p style="text-align: center">
+<a name="Tongue">
+<img src="images/image15.jpg" width="300" height="91" alt="larynx position" title="larynx position" /></a></p>
+
+<p style="text-align: center"><a href="images/i015.jpg">[Enlarge]</a></p>
+
+<p style="text-align: center">&#160;</p>
+
+<p>The correct position of the tongue, preparatory to singing, is gained
+by saying the vowel sound <i>aou</i>, as if about to yawn.</p>
+
+<p>The tongue must not scrape around upward with its tip. As soon as the
+tip has been employed in the pronunciation of the consonants <i>l</i>, <i>n</i>,
+<i>s</i>, <i>t</i>, and <i>z</i>, in which its service is very short and sharp, it
+must return to its former position, and keep to it.<span class="pagenum"><a name="Page_101" id="Page_101">[Pg 101]</a></span></p>
+
+<p>It is best to watch the movements of the tongue in the mirror until we
+have formed the correct habit permanently. The more elastic the tongue
+is in preparing the form for the breath to pass through, the stiller
+will it appear, the stiller will it feel to us. It is well, however,
+for a considerable time to watch in a mirror all functions of the
+organs that can be seen; the expression of the face, the position of
+the mouth, and the movement of the lips.</p>
+
+
+
+
+<hr style="width: 65%;" />
+<p><span class="pagenum"><a name="Page_102" id="Page_102">[Pg 102]</a></span></p>
+<h2><a name="SECTION_XI" id="SECTION_XI"></a>SECTION XI</h2>
+
+<h3>THE SENSATIONS OF THE PALATE</h3>
+
+
+<p><span class="smcap">The</span> sensations of the palate are best made clear to us by raising the
+softest part behind the nose. This part is situated very far back. Try
+touching it carefully with the finger. This little part is of
+immeasurable importance to the singer. By raising it the entire
+resonance of the head cavities is brought into play&#8212;consequently the
+head tones are produced. When it is raised, the pillars of the fauces
+are lowered. In its normal position it allows the pillars to be
+distended and to close the head cavities off from the throat, in order
+to produce the chest tones; that is, to permit the breath to make
+fullest use of the palatal resonance. As soon as the soft palate is
+lowered under the nose, it makes a point of resonance for the middle
+range of<span class="pagenum"><a name="Page_107" id="Page_107">[Pg 107]</a></span> voice, by permitting the overtones to resound at the same
+time in the nose. (See plate, middle range.)</p>
+
+<p style="text-align: center">&#160;</p>
+
+<p style="text-align: center">
+<img src="images/image16.jpg" width="280" height="400" alt="middle range" title="middle range" /></p>
+
+<p style="text-align: center"><a href="images/i016.jpg">[Enlarge]</a></p>
+
+<p style="text-align: center">&#160;</p>
+
+<p style="text-align: center">
+<img src="images/image17.jpg" width="311" height="400" alt="softest point of palate" title="softest point of palate" /></p>
+
+<p style="text-align: center"><a href="images/i017.jpg">[Enlarge]</a></p>
+
+<p style="text-align: center">&#160;</p>
+
+<p>Thus the palate performs the whole work so far as concerns the
+different resonances, which can be united and separated by it, but
+must <i>always work together in close relation, always bound together in
+all tones, in all kinds of voices</i>.</p>
+
+<p>The lowest chest tones of the bass, the highest head tones of the
+soprano, are thus the two poles between which the entire gamut of all
+voices can be formed. From this it can be perceived that with a
+certain degree of skill and willingness to work, every voice will be
+capable of great extension.</p>
+
+
+
+
+<hr style="width: 65%;" />
+<p><span class="pagenum"><a name="Page_108" id="Page_108">[Pg 108]</a></span></p>
+<h2><a name="SECTION_XII" id="SECTION_XII"></a>SECTION XII</h2>
+
+<h3>THE SENSATION OF THE RESONANCE OF THE HEAD CAVITIES</h3>
+
+
+<p><span class="smcap">The</span> sensation of the resonance of the head cavities is perceived
+chiefly by those who are unaccustomed to using the head tones. The
+resonance against the occipital walls of the head cavities when the
+head tones are employed, at first causes a very marked irritation of
+the nerves of the head and ear. But this disappears as soon as the
+singer gets accustomed to it. The head tones can be used and directed
+by the breath only with a clear head. The least depression such as
+comes with headaches, megrim, or moodiness may have the worst effect,
+or even make their use quite impossible. This feeling of oppression is
+lost after regular, conscious practice, by which all unnecessary<span class="pagenum"><a name="Page_109" id="Page_109">[Pg 109]</a></span> and
+disturbing pressure is avoided. In singing very high head tones I have
+a feeling as if they lay high above the head, as if I were setting
+them off into the air. (<a href="#Vocal">See plate</a>.)</p>
+
+<p>Here, too, is the explanation of singing <i>in the neck</i>. The breath, in
+all high tones which are much mixed with head tones or use them
+entirely, passes very far back, directly from the throat into the
+cavities of the head, and thereby, and through the oblique position of
+the larynx, gives rise to the sensations just described. A singer who
+inhales and exhales carefully, that is, with knowledge of the
+physiological processes, will always have a certain feeling of
+pleasure, an attenuation in the throat as if it were stretching itself
+upward. The bulging out of veins in the neck, that can so often be
+seen in singers, is as wrong as the swelling up of the neck, looks
+very ugly, and is not without danger from congestion.</p>
+
+<p>With rapid scales and trills one has the feeling of great firmness of
+the throat<span class="pagenum"><a name="Page_110" id="Page_110">[Pg 110]</a></span> muscles, as well as of a certain stiffness of the larynx.
+(<a href="#SECTION_XXXIV">See &quot;Trills.&quot;</a>) An unsteady movement of the latter, this way and that,
+would be disadvantageous to the trill, to rapid scales, as well as to
+the cantilena. For this reason, because the changing movements of the
+organs must go on quite imperceptibly and inaudibly, it must be more
+like a shifting than a movement. In rapid scales the lowest tone must
+be &quot;placed&quot; with a view to the production of the highest, and in
+descending, the greatest care must be exercised that the tone shall
+not tumble over each other single, but shall produce the sensation of
+closely connected sounds, through being bound to the high tone
+position and pressed toward the nose.</p>
+
+<p>In this all the participating vocal organs must be able to keep up a
+muscular contraction, often very rigid: a thing that is to be achieved
+only gradually through long years of careful and regular study.
+Excessive practice is of no use in this&#8212;only regular<span class="pagenum"><a name="Page_113" id="Page_113">[Pg 113]</a></span> and
+intelligent practice; and success comes only in course of time.</p>
+
+<p style="text-align: center">&#160;</p>
+
+<p style="text-align: center">
+<a name="Vocal">
+<img src="images/image18.jpg" width="259" height="400" alt="soprano and tenor" title="soprano and tenor" /></a></p>
+
+<p style="text-align: center"><a href="images/i018.jpg">[Enlarge]</a></p>
+
+<p style="text-align: center">&#160;</p>
+
+<p>Never should the muscular contractions become convulsive and produce
+pressure which the muscles cannot endure for a long time. They must
+respond to all necessary demands upon their strength, yet remain
+elastic in order that, easily relaxing or again contracting, they may
+promptly adapt themselves to every nuance in tone and accent desired
+by the singer.</p>
+
+<p>A singer can become and continue to be master of his voice and means
+of expression only as long as he practises daily correct vocal
+gymnastics. In this way alone can he obtain unconditional mastery over
+his muscles, and, through them, of the finest controlling apparatus,
+of the beauty of his voice, as well as of the art of song as a whole.</p>
+
+<p>Training the muscles of the vocal organs so that their power to
+contract and relax to all desired degrees of strength, throughout<span class="pagenum"><a name="Page_114" id="Page_114">[Pg 114]</a></span> the
+entire gamut of the voice, is always at command, makes the master
+singer.</p>
+
+<p>As I have already said, the idea of &quot;singing forward&quot; leads very many
+singers to force the breath from the mouth without permitting it to
+make full use of the resonating surfaces that it needs, yet it streams
+forth from the larynx really very far back in the throat, and the
+straighter it rises in a column behind the tongue, the better it is
+for the tone. The tongue must furnish the surrounding form for this,
+for which reason it must not lie flat in the mouth. (<a href="#Tongue">See plate, the
+tongue</a>.)</p>
+
+<p>The whirling currents of tone circling around their focal point (the
+attack) find a cup-shaped resonating cavity when they reach the front
+of the mouth and the lips, which, through their extremely potent
+auxiliary movements, infuse life and color into the tone and the word.
+Of equal importance are the unimpeded activity of the whirling
+currents of sound and their complete filling of the<span class="pagenum"><a name="Page_121" id="Page_121">[Pg 121]</a></span> resonating
+spaces in the back of the throat, the pillars of the fauces, and the
+head cavities in which the vocalized breath must be kept soaring above
+the larynx and <i>soaring undisturbed</i>.</p>
+
+<p>In the lowest range of the voice the entire palate from the front
+teeth to the rear wall of the throat must be thus filled. (See plate.)</p>
+
+<p style="text-align: center">&#160;</p>
+
+<p style="text-align: center">
+<img src="images/image19.jpg" width="242" height="400" alt="lower range" title="lower range" /></p>
+
+<p style="text-align: center"><a href="images/i019.jpg">[Enlarge]</a></p>
+
+<p style="text-align: center">&#160;</p>
+
+<p>With higher tones the palate is lowered, the nostrils are inflated,
+and above the hard palate a passage is formed for the overtones. (See
+plate.)</p>
+
+<p style="text-align: center">&#160;</p>
+
+<p style="text-align: center">
+<img src="images/image20.jpg" width="231" height="400" alt="middle and higher range" title="middle and higher range" /></p>
+
+<p style="text-align: center"><a href="images/i020.jpg">[Enlarge]</a></p>
+
+<p style="text-align: center">&#160;</p>
+
+<p>This air which soars above must, however, not be in the least
+compressed; the higher the tone, the less pressure should there be;
+for here, too, whirling currents are formed, which must be neither
+interrupted nor destroyed. The breath must be carried along on the
+wall of the throat without compression, in order to accomplish its
+work. (See plate, high tones.)</p>
+
+<p style="text-align: center">&#160;</p>
+
+<p style="text-align: center">
+<img src="images/image21.jpg" width="248" height="400" alt="high tones" title="high tones" /></p>
+
+<p style="text-align: center"><a href="images/i021.jpg">[Enlarge]</a></p>
+
+<p style="text-align: center">&#160;</p>
+
+<p>Singing forward, then, does not mean pressing the whole of the
+<i>breath</i> or the tone<span class="pagenum"><a name="Page_122" id="Page_122">[Pg 122]</a></span> forward, but only part of it; that is, in the
+middle register, finding a resonating focus in front, caused by the
+lowering of the front of the palate. This permits a free course only
+to that part of the breath which is used up by the whirling currents
+in the resonant throat form, and serves to propagate the outer waves,
+and carry them farther through space.</p>
+
+
+
+<hr style="width: 65%;" />
+<p><span class="pagenum"><a name="Page_123" id="Page_123">[Pg 123]</a></span></p>
+<h2><a name="SECTION_XIII" id="SECTION_XIII"></a>SECTION XIII</h2>
+
+<h3>SINGING COVERED</h3>
+
+
+<p><span class="smcap">We</span> sing covered as soon as the soft palate is lowered toward the nose
+(that is, in the middle register), and the resonance and attack are
+transferred thither so that the breath can flow over the soft palate
+through the nose.</p>
+
+<p>This special function of the palate, too, should be carefully prepared
+for in the tones that precede it, and mingled with them, in order not
+to be heard so markedly as it often is. In men's voices this is much
+more plainly audible than in women's; but both turn it to account
+equally on different tones. This often produces a new register that
+should not be produced. This belongs to the chapter on <a href="#SECTION_XIV">registers</a>.<span class="pagenum"><a name="Page_124" id="Page_124">[Pg 124]</a></span></p>
+
+<p style="text-align: center">&#160;</p>
+
+<p style="text-align: center">
+<img src="images/music01.jpg" width="700" height="99" alt="music" title="music" /></p>
+
+<p style="text-align: center"><a href="music/music01.mid">&#160;[Listen]</a></p>
+
+<p style="text-align: center">&#160;</p>
+
+<p>The tone is concentrated on the front of the palate instead of being
+spread over all of it&#8212;but this must not be done too suddenly. [See
+illustrations on pages 127, 129, 131, 133.]<span class="pagenum"><a name="Page_125" id="Page_125">[Pg 125]</a></span></p>
+
+<p style="text-align: center">&#160;</p>
+
+<p style="text-align: center">
+<img src="images/image22.jpg" width="263" height="350" alt="covered tones" title="covered tones" /></p>
+
+<p style="text-align: center"><a href="images/i022.jpg">[Enlarge]</a></p>
+
+<p style="text-align: center">&#160;</p>
+
+<p style="text-align: center">
+<img src="images/image23.jpg" width="257" height="350" alt="covered tones" title="covered tones" /></p>
+
+<p style="text-align: center"><a href="images/i023.jpg">[Enlarge]</a></p>
+
+<p>&#160;</p>
+
+<p style="text-align: center">
+<img src="images/image24.jpg" width="273" height="350" alt="change of attack" title="change of attack" /></p>
+
+<p style="text-align: center"><a href="images/i024.jpg">[Enlarge]</a></p>
+
+<p>&#160;</p>
+
+<p style="text-align: center">
+<img src="images/image25.jpg" width="265" height="350" alt="change of attack" title="change of attack" /></p>
+
+<p style="text-align: center"><a href="images/i025.jpg">[Enlarge]</a></p>
+
+
+
+<hr style="width: 65%;" />
+<p><span class="pagenum"><a name="Page_133" id="Page_133">[Pg 133]</a></span></p>
+<h2><a name="SECTION_XIV" id="SECTION_XIV"></a>SECTION XIV</h2>
+
+<h3>ON VOCAL REGISTERS</h3>
+
+
+<p><span class="smcap">What</span> is a vocal register?</p>
+
+<p>A series of tones sung in a certain way, which are produced by a
+certain position of the vocal organs&#8212;larynx, tongue, and palate.
+Every voice includes three registers&#8212;chest, middle, and head. But all
+are not employed in every class of voice.</p>
+
+<p>Two of them are often found connected to a certain extent in
+beginners; the third is usually much weaker, or does not exist at all.
+Only very rarely is a voice found naturally equalized over its whole
+compass.</p>
+
+<p>Do registers exist by nature? No. It may be said that they are created
+through long years of speaking in the vocal range that is easiest to
+the person, or in one adopted by imitation, which then becomes<span class="pagenum"><a name="Page_134" id="Page_134">[Pg 134]</a></span> a
+fixed habit. If this is coupled with a natural and proper working of
+the muscles of the vocal organs, it may become the accustomed range,
+strong in comparison with others, and form a register by itself. This
+fact would naturally be appreciated only by singers.</p>
+
+<p>If, on the other hand, the muscles are wrongly employed in speaking,
+not only the range of voice generally used, but the whole voice as
+well, may be made to sound badly. So, in every voice, one or another
+range may be stronger or weaker; and this is, in fact, almost always
+the case, since mankind speaks and sings in the pitch easiest or most
+accustomed, without giving thought to the proper position of the
+organs in relation to each other; and people are rarely made to pay
+attention as children to speaking clearly and in an agreeable voice.
+In the most fortunate instances the range thus practised reaches
+limits on both sides, not so much those of the person's power, as
+those set<span class="pagenum"><a name="Page_139" id="Page_139">[Pg 139]</a></span> by his lack of skill, or practice. Limitations are put on
+the voice through taking account only of the easiest and most
+accustomed thing, without inquiring into the potentialities of the
+organs or the demands of art.</p>
+
+<p style="text-align: center">&#160;</p>
+
+<p style="text-align: center">
+<img src="images/image26.jpg" width="264" height="350" alt="register" title="register" /></p>
+
+<p style="text-align: center"><a href="images/i026.jpg">[Enlarge]</a></p>
+
+<p style="text-align: center">&#160;</p>
+
+<p style="text-align: center">
+<img src="images/image27.jpg" width="280" height="400" alt="register" title="register" /></p>
+
+<p style="text-align: center"><a href="images/i027.jpg">[Enlarge]</a></p>
+
+<p style="text-align: center">&#160;</p>
+
+<p>Now, suppose such a peculiarity which includes, let us say, three or
+four tones, is extended to six or eight, then, in the course of time,
+in the worst cases, a break is produced at the outside limits. In the
+most favorable cases the tones lying next beyond these limits are
+conspicuously weak and without power compared with those previously
+forced. This one way of singing can be used no farther; another must
+be taken up, only, perhaps, to repeat farther the incorrect procedure.</p>
+
+<p>Three such limits or ways of singing can be found and used. Chest,
+middle, and head voice, all three form registers when exaggerated; but
+they should be shaded off and melt into each other. The organs,
+through the skilful training of the teacher, as well<span class="pagenum"><a name="Page_140" id="Page_140">[Pg 140]</a></span> as by the
+exercise of the pupil's talent and industry, must be accustomed to
+taking such positions that one register leads into another
+imperceptibly. In this way beauty, equality, and increased compass of
+the voice will be made to enhance its usefulness.</p>
+
+<p>When the three ways of singing are too widely different and too
+sharply contrasted, they become separate registers. These are
+everywhere accepted as a matter of course, and for years have been a
+terror in the teaching of singing, that has done more than anything
+else to create a dreadful bewilderment among singers and teachers. To
+eradicate it is probably hopeless. Yet, these registers are nothing
+more than three disconnected manners of using the vocal and resonating
+apparatus.</p>
+
+<p>With all the bad habits of singers, with all the complete ignorance of
+cause and effect, that prevail, it is not surprising that some pretend
+to tell us that there are two, three, four, or five registers,
+although as a<span class="pagenum"><a name="Page_141" id="Page_141">[Pg 141]</a></span> matter of fact there can be at most three in any voice.
+It will be much more correct to call every tone of every voice by the
+name of a new additional register, for in the end, every tone will and
+<i>must</i> be taken in a different relation, with a different position of
+the organs, although the difference may be imperceptible, if it is to
+have its proper place in the whole. People cling to the appellations
+of chest, middle, and head <i>register</i>, confounding voice with
+register, and making a hopeless confusion, from which only united and
+very powerful forces can succeed in extricating them.</p>
+
+<p>As long as the word &quot;register&quot; is kept in use, the registers will not
+disappear. And yet, the register question must be swept away, to give
+place to another class of ideas, sounder views on the part of
+teachers, and a truer conception on the part of singers and pupils.</p>
+
+
+
+
+<hr style="width: 65%;" />
+<p><span class="pagenum"><a name="Page_142" id="Page_142">[Pg 142]</a></span></p>
+<h2><a name="SECTION_XV" id="SECTION_XV"></a>SECTION XV</h2>
+
+<h3>DEVELOPMENT AND EQUALIZATION</h3>
+
+
+<p><span class="smcap">Naturally</span>, a singer can devote more strength to the development of one
+or two connected ranges of his voice than to a voice perfectly
+equalized in all its accessible ranges. For this are required many
+years of the most patient study and observation, often a
+long-continued or entire sacrifice of one or the other limit of a
+range for the benefit of the next-lying weaker one; of the head voice
+especially, which, if unmixed, sounds uneven and thin in comparison
+with the middle range, until by means of practised elasticity of the
+organs and endurance of the throat muscles a positive equalization can
+take place.</p>
+
+<p>Voices which contain only one or two registers are called short
+voices, for their<span class="pagenum"><a name="Page_143" id="Page_143">[Pg 143]</a></span> availability is as limited as they are themselves.</p>
+
+<p>Yet it must be remembered that all voices alike, whether short or
+long, even those of the most skilful singers, when age comes on, are
+apt to lose their highest ranges, if they are not continually
+practised throughout their entire compass with the subtlest use of the
+head tones. Thence it is to be concluded that a singer ought always to
+extend the compass of his voice as far as possible, in order to be
+certain of possessing the compass that he needs.</p>
+
+<p>On the formation of the organs depends much of the character of the
+voice. There are strong, weak, deep, and high voices by nature; but
+every voice, by means of proper study, can attain a certain degree of
+strength, flexibility, and compass.</p>
+
+<p>Unfortunately, stubbornness enters largely into this question, and
+often works in opposition to the teacher. Many, for instance, wish to
+be altos, either because they are<span class="pagenum"><a name="Page_144" id="Page_144">[Pg 144]</a></span> afraid of ruining their voices by
+working for a higher compass, or because it is easier for them, even
+if their voices are not altos at all.</p>
+
+<p>Nowadays operas are no longer composed for particular singers and the
+special characteristics of their voices. Composers and librettists
+express what they feel without regard to an alto singer who has no
+high C or a soprano who has no low A flat or G. But the <i>artist</i> will
+always find what he needs.</p>
+
+<p>Registers exist in the voices of almost all singers, but they ought
+not to be heard, ought not, indeed, to exist. Everything should be
+sung with a mixed voice in such a way that no tone is forced at the
+expense of any other. To avoid monotony the singer should have at his
+disposal a wealth of means of expression in all ranges of his voice.
+(<a href="#SECTION_VI">See the Varieties of Attack and Dynamic Power</a>.) Before all else he
+should have knowledge of the advantages in the resonance of certain<span class="pagenum"><a name="Page_145" id="Page_145">[Pg 145]</a></span>
+tones, and of their connection with each other. The <i>soul</i> must
+provide the color; skill and knowledge as to cause and effect,
+management of the breath, and perfection of the throat formation must
+give the power to produce every dynamic gradation and detail of
+expression. Registers are, accordingly, produced when the singer
+forces a series of tones, generally ascending, upon one and the same
+resonating point, instead of remembering that in a progression of
+tones no one tone can be exactly like another, because the position of
+the organs must be different for each. The palate must remain elastic
+from the front teeth to its hindmost part, mobile and susceptible,
+though imperceptibly, to all changes. Very much depends on the
+continuous harmony of action of the soft and hard palate, which must
+always be in full evidence, the raising and extension of the former
+producing changes in the tone. If, as often happens when the registers
+are sharply defined, tones fall into a <i>cul de sac</i>,<span class="pagenum"><a name="Page_146" id="Page_146">[Pg 146]</a></span> escape into
+another register is impossible, without a jump, which may lead to
+disaster. With every tone that the singer has to sing, he must always
+have the feeling that he <i>can</i> go higher, and that the attack for
+different tones must not be forced upon one and the same point.</p>
+
+<p>The larynx must not be <i>suddenly</i> pressed down nor jerked up, except
+when this is desired as a special effect. That is, when one wishes to
+make a transition, <i>legato</i>, from a chest tone to a tone in the middle
+or head register, as the old Italians used to do, and as I, too,
+learned to do, thus:&#8212;</p>
+
+<p style="text-align: center">&#160;</p>
+
+<p style="text-align: center">
+<img src="images/music02.jpg" width="350" height="89" alt="music" title="music" /></p>
+
+<p style="text-align: center"><a href="music/music02.mid">[Listen]</a></p>
+
+<p style="text-align: center">&#160;</p>
+
+<p>In this case the chest tone is attacked very nasal, in order that the
+connection may remain to the upper note, and the larynx is suddenly
+jerked up to the high tone. This was called breaking the tone; it was
+very much used, and gave fine effects when<span class="pagenum"><a name="Page_147" id="Page_147">[Pg 147]</a></span> it was well done. I use it
+to-day, especially in Italian music, where it belongs. It is an
+exception to the rule for imperceptible or inaudible change of
+position of the organs,&#8212;that it should not be made <i>suddenly</i>.</p>
+
+<p>The scale proceeds from one semitone to another; each is different;
+each, as you go on, requires greater height, wherefore the position of
+the organs cannot remain the same for several different tones. But, as
+there should never be an abrupt change audible in the way of singing,
+so should there never be an abrupt change felt in the sensations of
+the singer's throat. Every tone must be imperceptibly prepared in an
+elastic channel and must produce an easy feeling in the singer, as
+well as an agreeable impression upon the listener.</p>
+
+<p>The small peak indicated in the illustration is enormously extensible
+and can be shifted into infinite varieties of position. However
+unimportant its raising and lowering may appear, they are nevertheless
+of<span class="pagenum"><a name="Page_148" id="Page_148">[Pg 148]</a></span> great importance for the tone and the singer. The focal point of
+the breath, that forms simultaneously the attack and the body of the
+tone, by the operation of the abdominal breath pressure against the
+chest, is always firmly placed on, beneath, or behind the nose.
+Without body even the finest pianissimo has no significance. The very
+highest unmixed head tones are an exception, and they can express
+nothing. There can be no body expected in them. Their soaring quality
+of sound endures no pressure, and consequently gives no expression,
+which is possible only through an admixture of palatal resonance.
+Their only significance is gained through their pure euphony.</p>
+
+<p>All vowels, too, must keep their point of resonance uninterruptedly on
+the palate. All beauty in the art of song, in cantilena as well as in
+all technique, consists chiefly in uninterrupted connection between
+the tone and the word, in the flexible connection of the soft palate
+with the hard, in the<span class="pagenum"><a name="Page_151" id="Page_151">[Pg 151]</a></span> continually elastic adjustment of the former
+to the latter. This means simply the elastic form, which the breath
+must fill in every corner of resonating surface without interruption,
+as long as the tone lasts.</p>
+
+<p style="text-align: center">&#160;</p>
+
+<p style="text-align: center">
+<img src="images/image28.jpg" width="273" height="350" alt="softest point on palate" title="softest point on palate" /></p>
+
+<p style="text-align: center"><a href="images/i028.jpg">[Enlarge]</a></p>
+
+<p style="text-align: center">&#160;</p>
+
+<p>If the singer will control his tone,&#8212;and in practising he must always
+do so,&#8212;he needs only to test it to see whether he can easily make it
+softer without perceptible change in the position of the organs, and
+carry it higher toward the nose and the cavities of the forehead; that
+is, prepare a form for its continuation upward.</p>
+
+<p><i>In this way he can learn how much height a tone needs without being
+too high, and how much it often lacks in height and duration to sound
+high enough.</i></p>
+
+<p>In this way remarkable faults become evident! The reason why a tone
+sounds too low&#8212;the so-called transition tones from the lower to the
+middle range and from this to the higher, come up for consideration
+chiefly&#8212;is that the pillars of the fauces<span class="pagenum"><a name="Page_152" id="Page_152">[Pg 152]</a></span> are raised too high toward
+the back, preventing the head tones from sounding at the same time; or
+the soft palate is lowered too far under the nose, which results in
+pressing the tone too long and too far toward the teeth. This fault is
+met with in very many singers, in all kinds of voices, and in almost
+the same places. It comes only from an unyielding retention of the
+same resonating point for several tones and a failure to bring in the
+resonance of the head cavities. The &quot;propagation form,&quot; or continuing
+form,<a name="FNanchor_2_2" id="FNanchor_2_2"></a><a href="#Footnote_2_2" class="fnanchor">[2]</a> must always be prepared consciously, for without it artistic
+singing is not to be thought of.</p>
+
+<p>The neglect of this most important principle usually results in
+overstraining the vocal cords and throat muscles. This is followed
+first by singing flat, and later by the appearance of the hideous
+tremolo (see Tremolo) to<span class="pagenum"><a name="Page_153" id="Page_153">[Pg 153]</a></span> which so many singers fall victims. The
+cause of a tone's being too sharp is the dwelling too long on the
+resonance of the head cavities, where the tone should already have
+been mixed with palatal resonance. With very young voices this can
+easily happen, and can also result from weariness, when the bodily
+strength is not developed sufficiently to endure the fatigue of
+practising. A very circumspect course must then be followed.</p>
+
+
+
+<hr style="width: 65%;" />
+<p><span class="pagenum"><a name="Page_154" id="Page_154">[Pg 154]</a></span></p>
+<h2><a name="SECTION_XVI" id="SECTION_XVI"></a>SECTION XVI</h2>
+
+<h3>WHITE VOICES</h3>
+
+
+<p><span class="smcap">There</span> are also singers, male and female, who use too much head tone
+through their entire compass; such voices are called &quot;white.&quot; Their
+use of the palatal resonance being insufficient, they are not able to
+make a deeper impression, because their power of expression is
+practically nothing. Frau Wedekind and Madame Melba are instances of
+this. In such cases it would be advisable to raise the pillars of the
+fauces a little higher, and place the larynx somewhat lower, and to
+mingle judiciously with all the other vowels, the vowel sound <i>oo</i>,
+that requires a lower position of the larynx. The voices would become
+warmer and would sound more expressive. As soon as the singer is able
+to create easily and inaudibly on every tone the correct propagation<span class="pagenum"><a name="Page_155" id="Page_155">[Pg 155]</a></span>
+form for the next tone, all questions as to register must disappear.
+He must not, however, be drilled on <i>registers</i>; several tones must
+not be forced on one and the same point. Every tone should be put
+naturally into its own place; should receive the pitch, duration, and
+strength it needs for its perfection. And one master rules it
+all,&#8212;the ear!</p>
+
+<p>The goal is, unfortunately, so seldom reached because it can be
+reached only through the moderation that comes from mastery; and,
+alas! only true masters practise it.</p>
+
+<p>It may be accepted as true that the lower ranges of the voice have the
+greatest strength, the middle ranges the greatest power of expression,
+the higher the greatest carrying power.</p>
+
+<p>The best mixture&#8212;all three together&#8212;may be developed to the highest
+art by the skill of the individual, often, indeed, only by a good ear
+for it. Whenever expression of the word's significance, beauty of<span class="pagenum"><a name="Page_156" id="Page_156">[Pg 156]</a></span> the
+vocal material, and perfection of phrasing are found united in the
+highest degree, it is due either to knowledge or to a natural skill in
+the innumerable ways of fitting the sung word to the particular
+resonance&#8212;connections that are suitable to realize its significance,
+and hence its spirit. They are brought out by a stronger inclination
+toward one or the other of the resonance surfaces, without, however,
+injuring the connection or the beauty of the musical phrase. Here
+aesthetic feeling plays the chief part, for whatever may be its power
+and its truthfulness, the result must always be beautiful,&#8212;that is,
+restrained within proper limits.</p>
+
+<p>This law, too, remains the same for all voices. It is a question of
+the entire compass of a voice trained for artistic singing, one that
+is intrusted with the greatest of tasks, to interpret works of art
+that are no popular songs, but, for the most part, human tragedies.
+Most male singers&#8212;tenors especially&#8212;consider it beneath them,
+generally, indeed,<span class="pagenum"><a name="Page_157" id="Page_157">[Pg 157]</a></span> unnatural or ridiculous, to use the falsetto,
+which is a part of all male voices, as the head tones are a part of
+all female voices. They do not understand how to make use of its
+assistance, because they often have no idea of its existence, or know
+it only in its unmixed purity&#8212;that is, its thinnest quality. Of its
+proper application they have not the remotest conception. Their
+singing is generally in accordance with their ignorance.</p>
+
+<p>The mixture is present by nature in all kinds of voices, but singers
+must possess the skill and knowledge to employ it, else the natural
+advantage goes for nothing.</p>
+
+
+
+
+<hr style="width: 65%;" />
+<p><span class="pagenum"><a name="Page_158" id="Page_158">[Pg 158]</a></span></p>
+<h2><a name="SECTION_XVII" id="SECTION_XVII"></a>SECTION XVII</h2>
+
+<h3>THEODOR WACHTEL</h3>
+
+
+<p><span class="smcap">The</span> most perfect singer that I remember in my Berlin experience was
+Theodor Wachtel in this respect, that with his voice of rare splendor,
+he united all that vocal art which, as it seems, is destined quite to
+disappear from among us. How beautiful were his coloratura, his
+trills,&#8212;simply flawless! Phrasing, force, fulness of tone, and beauty
+were perfect, musically without a blemish. If he did not go outside
+the range of Arnold, G. Brown, Stradella, Vasco, the Postillion and
+Lionel, it was probably because he felt that he was not equal to
+interpreting the Wagnerian spirit. In this he was very wise. As one of
+the first of vocal artists, whose voice was superbly trained and was
+preserved to the end of his life, I have had to pay<span class="pagenum"><a name="Page_159" id="Page_159">[Pg 159]</a></span> to Wachtel the
+tribute of the most complete admiration and recognition, in contrast
+to many others who thought themselves greater than he, and yet were
+not worthy to unloose the latchet of his shoes.</p>
+
+<p>Recently the little Italian tenor Bonci has won my hearty admiration
+for his splendidly equalized voice, his perfect art, and his knowledge
+of his resources; and notwithstanding the almost ludicrous figure that
+he cut in serious parts, he elicited hearty applause. Cannot German
+tenors, too, learn to sing <i>well</i>, even if they do interpret Wagner?
+Will they not learn, for the sake of this very master, that it is
+their duty not to use their voices recklessly?</p>
+
+<p>Is it not disrespectful toward our greatest masters that they always
+have to play hide and seek with the <i>bel canto</i>, the trill, and
+coloratura? Not till one has fully realized the difficulties of the
+art of song, does it really become of value and significance. Not till
+then are one's eyes opened to the duty<span class="pagenum"><a name="Page_160" id="Page_160">[Pg 160]</a></span> owed not only to one's self
+but to the public.</p>
+
+<p>The appreciation of a difficulty makes study doubly attractive; the
+laborious ascent of a summit which no one can contest, is the
+attainment of a goal.</p>
+
+<p>Voices in which the palatal resonance&#8212;and so, power&#8212;is the
+predominating factor, are the hardest to manage and to preserve. They
+are generally called chest voices. Uncommon power and fulness of tone
+in the middle ranges are extremely seductive. Only rarely are people
+found with sense enough to renounce such an excess of fulness in favor
+of the head tones,&#8212;that is, the least risky range to exploit and
+preserve,&#8212;even if this has to be done only temporarily.</p>
+
+<p>Copious vocal resources may with impunity be brought before the public
+and thereby submitted to strain, only after long and regular study.</p>
+
+<p>The pure head tone, without admixture<span class="pagenum"><a name="Page_161" id="Page_161">[Pg 161]</a></span> of palatal resonance, is feeble
+close at hand, but penetrating and of a carrying power equalled by no
+other. Palatal resonance without admixture of the resonance of the
+head cavities (head tones) makes the tone very powerful when heard
+near by, but without vibrancy for a large auditorium. This is the
+proof of how greatly <i>every</i> tone needs the proper admixture.</p>
+
+
+
+
+<hr style="width: 65%;" />
+<p><span class="pagenum"><a name="Page_162" id="Page_162">[Pg 162]</a></span></p>
+<h2><a name="SECTION_XVIII" id="SECTION_XVIII"></a>SECTION XVIII</h2>
+
+<h3>THE HIGHEST HEAD TONES</h3>
+
+
+<p><span class="smcap">As</span> we have already seen, there is almost no limit to the height that
+can be reached by the pure head tone without admixture of palatal
+resonance. Very young voices, especially, can reach such heights, for
+without any strain they possess the necessary adaptability and skill
+in the adjustment to each other of the larynx, tongue, and pillars of
+the fauces. A skill that rests on ignorance of the true nature of the
+phenomenon must be called pure chance, and thus its disappearance is
+as puzzling to teacher and listener as its appearance had been in the
+first place. How often is it paired with a total lack of ability to
+produce anything but the highest head tones! As a general rule such
+voices have a very short lease of<span class="pagenum"><a name="Page_163" id="Page_163">[Pg 163]</a></span> life, because their possessors are
+exploited as wonders, before they have any conception of the way to
+use them, of tone, right singing, and of cause and effect in general.
+An erroneous pressure of the muscles, a wrong movement of the tongue
+(raising the tip, for instance,
+<img src="images/image38.jpg" width="50" height="22" alt="tongue" title="tongue" /> ), an attempt to
+increase the strength of the tone,&#8212;all these things extinguish
+quickly and for all time the wonder-singer's little light.</p>
+
+<p>We Lehmann children in our youth could sing to the very highest pitch.
+It was nothing for my sister Marie to strike the 4-line <i>e</i> a hundred
+times in succession, and trill on it for a long time. She could have
+sung in public at the age of seven. But since our voices, through the
+circumstances of our life and surroundings, were forced to early
+exertions, they lost their remarkable high notes; yet enough was left
+to sing the <i>Queen of Night</i> (in Mozart's opera &quot;Die Zauberfl&#246;te&quot;),
+with the high <i>f</i>.</p>
+
+<p>After I had been compelled to use my lower<span class="pagenum"><a name="Page_164" id="Page_164">[Pg 164]</a></span> and middle ranges much
+more, in the study of dramatic parts, I omitted the highest notes from
+my practice, but could not then always have relied on them. Now that I
+know on what it all depends, it is very easy for me to strike high
+<i>f</i>, not only in passing, but to combine it with any tone through
+three octaves. But upon the least pressure by any organ, the head
+resonance loses its brilliancy; that is, the breath no longer streams
+into the places where it should, and can create no more whirling
+currents of sound to fill the spaces.</p>
+
+<p>But one should not suppose that the head tones have no power. When
+they are properly used, their vibrancy is a substitute for any amount
+of power.</p>
+
+<p>As soon as the head tones come into consideration, one should <i>never</i>
+attempt to sing an open <i>ah</i>, because on <i>ah</i> the tongue lies
+flattest. One should think of an <i>&#257;</i>, and in the highest range even
+an <i>&#275;</i>; should mix the <i>&#257;</i> and <i>&#275;</i> with the <i>ah</i>, and thereby
+produce a position of the tongue and soft palate that<span class="pagenum"><a name="Page_167" id="Page_167">[Pg 167]</a></span> makes the path
+clear for the introduction of the breath into the cavities of the
+head.</p>
+
+<p style="text-align: center">&#160;</p>
+
+<p style="text-align: center">
+<img src="images/image29.jpg" width="234" height="400" alt="highest head tones" title="highest head tones" /></p>
+
+<p style="text-align: center"><a href="images/i029.jpg">[Enlarge]</a></p>
+
+<p style="text-align: center">&#160;</p>
+
+<p>Singers who, on the other hand, pronounce <i>&#257;</i> and <i>&#275;</i> too
+sharply, need only introduce an admixture of <i>oo</i>; they thereby lower
+the position of the larynx, and thus give the vowel and tone a darker
+color.</p>
+
+<p>Since the stream of breath in the highest tones produces currents
+whirling with great rapidity, the more rapidly the higher the tone is,
+the slightest pressure that may injure the form in which they
+circulate may ruin the evenness of the tone, its pitch, perhaps the
+tone itself. Each high tone must <i>soar gently</i>, like the overtones.</p>
+
+<p>The upper limits of a bass and baritone voice are</p>
+
+<p style="text-align: center">&#160;</p>
+
+<p style="text-align: center">
+<img src="images/music03.jpg" width="350" height="100" alt="music" title="music" /></p>
+
+<p style="text-align: center"><a href="music/music03.mid">[Listen]</a></p>
+
+<p style="text-align: center">&#160;</p>
+
+<p>where, consequently, the tones must be mixed. Pure head tones, that
+is, falsetto, are never demanded higher than this. I regard it,
+how<span class="pagenum"><a name="Page_168" id="Page_168">[Pg 168]</a></span>ever, as absolutely necessary for the artist to give consideration
+to his falsetto, that he may include it among his known resources.
+Neither a bass nor a baritone should neglect to give it the proper
+attention, and both should learn to use it as one of their most
+important auxiliary forces.</p>
+
+<p>With what mastery did Betz make use of it; how noble and beautiful his
+voice sounded in all its ranges; of what even strength it was, and how
+infallibly fresh! And let no one believe that Nature gave it to him
+thus. As a beginner in Berlin he was quite unsatisfactory. He had the
+alternative given him either to study with great industry or to seek
+another engagement, for his successor had already been selected. Betz
+chose to devote himself zealously to study; he began also to play the
+'cello; he learned to <i>hear</i>, and finally raised himself to be one of
+our first singers, in many r&#244;les never to be forgotten. Betz knew,
+like myself, many things that to-day are neither taught nor learned.</p>
+
+
+
+
+<hr style="width: 65%;" />
+<p><span class="pagenum"><a name="Page_169" id="Page_169">[Pg 169]</a></span></p>
+<h2><a name="SECTION_XIX" id="SECTION_XIX"></a>SECTION XIX</h2>
+
+<h3>EXTENSION OF THE COMPASS AND EQUALIZATION OF REGISTERS</h3>
+
+
+<p><span class="smcap">The</span> whole secret of both consists in the proper raising and lowering
+of the soft palate, and the pillars of the fauces connected with it.
+This divides into two resonating divisions the breath coming from the
+source of supply, and forced against the chest, whereby it is put
+under control, as it escapes vocalized from the larynx. It consists
+also in the singer's natural adaptability and skill, in so placing the
+palate and resonance of the head cavities, or keeping them in
+readiness for every tone, as the pitch, strength, and duration of the
+individual tones or series of connected tones, with their propagation
+form, shall demand.</p>
+
+
+
+
+<hr style="width: 65%;" />
+<p><span class="pagenum"><a name="Page_170" id="Page_170">[Pg 170]</a></span></p>
+<h2><a name="SECTION_XX" id="SECTION_XX"></a>SECTION XX</h2>
+
+<h3>THE TREMOLO</h3>
+
+
+<p><span class="smcap">Big</span> voices, produced by large, strong organs, through which the breath
+can flow in a broad, powerful stream, are easily disposed to suffer
+from the tremolo, because the outflow of the breath against the vocal
+cords occurs too <i>immediately</i>. The breath is sent directly out from
+the lungs and the body, instead of being driven by the abdominal
+pressure forward against the chest and the controlling apparatus. Not
+till this has been done, should it be admitted, in the smallest
+amounts, and under control to the vocal cords. It does not pause, but
+streams through them without burdening them, though keeping them
+always more or less stretched, in which the muscular power of
+contraction and relaxation assists. Streaming <i>gently</i> out<span class="pagenum"><a name="Page_171" id="Page_171">[Pg 171]</a></span> from the
+vocal cords, it is now led, with the support of the tongue, to its
+resonance chambers, all the corners of which it fills up equally. Even
+the strongest vocal cords cannot for any length of time stand the
+uncontrolled pressure of the breath. They lose their tension, and the
+result is the tremolo.</p>
+
+<p>In inhaling, the chest should be raised not at all or but very little.
+(For this reason exercises for the expansion of the chest must be
+practised.) The pressure of the breath <i>against</i> the chest must be
+maintained as long as it is desired to sustain a tone or sing a
+phrase. As soon as the pressure of the abdomen and chest ceases, the
+tone and the breath are at an end. Not till toward the very end of the
+breath, that is, of the tone or the phrase, should the pressure be
+slowly relaxed, and the chest slowly sink.</p>
+
+<p>While I am singing, I must press the breath against the chest
+<i>evenly</i>, for in this<span class="pagenum"><a name="Page_172" id="Page_172">[Pg 172]</a></span> way alone can it be directed evenly against the
+vocal cords, which is the chief factor in a steady tone and the only
+possible and proper use of the vocal cords.</p>
+
+<p>The uninterrupted control of the breath pressure against the chest
+gives to the tone, as soon as it has found a focal point on the raised
+palate at the attack, the basis, the body, which must be maintained
+even in the softest pianissimo. Control of the breath should never
+cease. The tone should never be made too strong to be kept under
+control, nor too weak to be kept under control. This should be an
+inflexible rule for the singer.</p>
+
+<p>I direct my whole attention to the pressure against the chest, which
+forms the door of the supply chamber of breath. Thence I admit to the
+vocal cords uninterruptedly only just so much as I wish to admit. I
+must not be stingy, nor yet extravagant with it. Besides giving
+steadiness, the pressure against the chest (the controlling apparatus)
+estab<span class="pagenum"><a name="Page_173" id="Page_173">[Pg 173]</a></span>lishes the strength and the duration of the tone. Upon the
+proper control depends the length of the breath, which, without
+interruption, rises from here toward the resonating chambers, and,
+expelled into the elastic form of the resonating apparatus, there must
+obey our will.</p>
+
+<p style="text-align: center">&#160;</p>
+
+<p style="text-align: center">
+<img src="images/image30.jpg" width="300" height="226" alt="vocal cords" title="vocal cords" /></p>
+
+<p style="text-align: center"><a href="images/i030.jpg">[Enlarge]</a></p>
+
+<p style="text-align: center">&#160;</p>
+
+<p>It can now be seen how easily the vocal cords can be injured by an
+uncontrolled current of breath, if it is directed against them in all
+its force. One need only see a picture of the vocal cords to
+understand the folly of exposing these delicate little bands<span class="pagenum"><a name="Page_174" id="Page_174">[Pg 174]</a></span> to the
+explosive force of the breath. They cannot be protected too much; and
+also, they cannot be too carefully exercised. They must be spared all
+work not properly theirs; this must be put upon the chest tension
+muscles, which in time learn to endure an out-and-out thump.</p>
+
+<p>Even the vibrato, to which full voices are prone, should be nipped in
+the bud, for gradually the tremolo, and later even worse, is developed
+from it. Life can be infused into the tone by means of the lips&#8212;that
+is, in a way that will do no harm. But of that later.</p>
+
+<p>Vibrato is the first stage, tremolo the second; a third and last, and
+much more hopeless, shows itself in flat singing on the upper middle
+tones of the register. Referable in the same way to the overburdening
+of the vocal cords is the excessive straining of the throat muscles,
+which, through continual constriction, lose their power of <i>elastic</i>
+contraction and relaxation because pitch and duration of the tone are
+gained in an in<span class="pagenum"><a name="Page_175" id="Page_175">[Pg 175]</a></span>correct way, by forcing. Neither should be forced;
+pitch should be merely maintained, as it were, soaring; strength
+should not be gained by a cramped compression of the throat muscles,
+but by the completest possible filling with breath of the breath-form
+and the resonance chambers, under the government of the controlling
+apparatus.</p>
+
+<p><i>Neglect of the head tones (overtones) is paid for dearly.</i></p>
+
+<p>The more violent exertions are made to force them, and to keep them,
+the worse are the results. For most of the unhappy singers who do
+this, there is but one result: the voice is lost. How pitiful!</p>
+
+<p>If the first and second stages of tremolo are difficult to remedy,
+because the causes are rarely understood and the proper measures to
+take for their removal still more rarely, the repair of the last stage
+of the damage is nothing less than a fight, in which only an
+unspeakable patience can win the victory.</p>
+
+
+
+
+<hr style="width: 65%;" />
+<p><span class="pagenum"><a name="Page_176" id="Page_176">[Pg 176]</a></span></p>
+<h2><a name="SECTION_XXI" id="SECTION_XXI"></a>SECTION XXI</h2>
+
+<h3>THE CURE</h3>
+
+
+<p><span class="smcap">There</span> are no magic cures for the singer. Only slowly, vibration upon
+vibration, can the true pitch be won back. In the word &quot;soaring&quot; lies
+the whole idea of the work. No more may the breath be allowed to flow
+uncontrolled through the wearied vocal cords; it must be forced
+against the chest, always, as if it were to come directly out thence.
+The throat muscles must lie fallow until they have lost the habit of
+cramped contraction; until the overtones again soar as they should,
+and are kept soaring long, though quite <i>piano</i>. At first this seems
+quite impossible, and is indeed very difficult, demanding all the
+patient's energy. But it is possible, and he cannot avoid it, for it
+is the only way to a thorough cure.<span class="pagenum"><a name="Page_177" id="Page_177">[Pg 177]</a></span> The patient has an extremely
+disagreeable period to pass through. If he is industrious and careful,
+he will soon find it impossible to sing in his old way; but the new
+way is for the most part quite unfamiliar to him, because his ear
+still hears as it has previously been accustomed to hear. It may be
+that years will pass before he can again use the muscles, so long
+maltreated. But he should not be dismayed at this prospect. If he can
+no longer use his voice in public as a singer, he certainly can as a
+teacher&#8212;for <i>a teacher must be able to sing well</i>. How should he
+describe to others sensations in singing which he himself never felt?
+Is it not as if he undertook to teach a language that he did not speak
+himself? or an instrument that he did not play himself? When he
+himself does not hear, how shall he teach others to hear?</p>
+
+<p>The degree of the evil, and the patient's skill, naturally have much
+to do with the rapidity of the cure. But one cannot throw<span class="pagenum"><a name="Page_178" id="Page_178">[Pg 178]</a></span> off a habit
+of years' standing like an old garment; and every new garment, too, is
+uncomfortable at first. One cannot expect an immediate cure, either of
+himself or of others. If the singer undertakes it with courage and
+energy, he learns to use his voice with conscious understanding, as
+should have been done in the beginning.</p>
+
+<p>And he must make up his mind to it, that even after a good cure, the
+old habits will reappear, like corns in wet weather, whenever he is
+not in good form physically. That should not lead to discouragement;
+persistence will bring success.</p>
+
+<p>As I have already said, singers with disabled voices like best to try
+&quot;magic cures&quot;; and there are teachers and pupils who boast of having
+effected such magic cures in a few weeks or hours.</p>
+
+<p><i>Of them I give warning!</i> and <i>equally</i>, of unprincipled physicians
+who daub around in the larynx, burn it, cut it, and make everything
+worse instead of better.<span class="pagenum"><a name="Page_179" id="Page_179">[Pg 179]</a></span></p>
+
+<p>I cannot comprehend why singers do not unite to brand such people
+publicly and put an end to their doings once for all.</p>
+
+<p>There is no other remedy than a slow, very careful study of the
+<i>causes</i> of the trouble, which in almost all cases consist in lack of
+control of the stream of breath through the vocal cords, and in
+disregard of the head tones, that is, of the overtones; as well as in
+forcing the pitch and power of the tone upon a wrong resonating point
+of the palate, and in constricting the throat muscles. In these points
+almost invariably are all mistakes to be looked for; and in the
+recognition of them the proper means for correcting them are already
+indicated.</p>
+
+<p>The cure is difficult and tedious. It needs an endless patience on the
+part of the sufferer as well as of the physician&#8212;that is, of the
+pupil and the <i>singing teacher</i> (the only proper physician for this
+disease)&#8212;because the nerves of the head are already sufficiently
+unstrung through the consciousness of their<span class="pagenum"><a name="Page_180" id="Page_180">[Pg 180]</a></span> incapacity; yet they
+should be able to act easily and without effort in producing the head
+tones.</p>
+
+<p>The repairing of a voice requires the greatest sympathetic
+appreciation and circumspection on the part of the teacher, who should
+always inspire the pupil with courage; and on the part of the pupil,
+all his tranquillity, nervous strength, and patience, in order to
+reach the desired goal.</p>
+
+<p><i>Where there is a will there is a way!</i></p>
+
+
+
+
+<hr style="width: 65%;" />
+<p><span class="pagenum"><a name="Page_181" id="Page_181">[Pg 181]</a></span></p>
+<h2><a name="SECTION_XXII" id="SECTION_XXII"></a>SECTION XXII</h2>
+
+<h3>THE TONGUE</h3>
+
+
+<p><span class="smcap">Since</span> it is the function of the tongue to conduct the column of breath
+above the larynx to the resonance chambers, too much attention cannot
+be given to it and its position, in speaking as well as in singing. If
+it lies too high or too low, it may, by constricting the breath,
+produce serious changes in the tone, making it pinched or even
+shutting it off entirely.</p>
+
+<p>It has an extremely delicate and difficult task to perform. It must be
+in such a position as not to press upon the larynx. Tongue and larynx
+must keep out of each other's way, although they always work in
+co&#246;peration; but one must not hamper the other, and when one can
+withdraw no farther out of the way, the other must take it upon<span class="pagenum"><a name="Page_182" id="Page_182">[Pg 182]</a></span>
+itself to do so. For this reason the back of the tongue must be raised
+high, the larynx stand low.</p>
+
+<p>The tongue must generally form a furrow. With the lowest tones it lies
+relatively flattest, the tip <i>always</i> against and beneath the front
+teeth, so that it can rise in the middle.</p>
+
+<p>As soon as the furrow is formed, the mass of the tongue is put out of
+the way, since it stands high on both sides. It is almost impossible
+to make drawings of this; it can best be seen in the mirror. As soon
+as the larynx is low enough and the tongue set elastically against the
+palate and drawn up behind (see plate <i>a</i>), the furrow is formed of
+itself. In pronouncing the vowel <i>ah</i> (which must always be mixed with
+<i>&#333;&#333;</i> and <i>o</i>), it is a good idea to think of yawning.</p>
+
+<p>The furrow must be formed in order to allow the breath to resonate
+against the palate beneath the nose, especially in the middle range;
+that is, what a bass and a baritone (whose highest range is not now
+under consid<span class="pagenum"><a name="Page_183" id="Page_183">[Pg 183]</a></span>eration) would call their high range, all other voices
+their middle.</p>
+
+<p>Without the furrow in the tongue, no tone is perfect in its resonance,
+none can make full use of it. The only exception is the very highest
+head and falsetto tones, which are without any palatal resonance and
+have their place solely in the head cavities. Strong and yet delicate,
+it must be able to fit any letter of the alphabet; that is, help form
+its sound. It must be of the greatest sensitiveness in adapting itself
+to every tonal vibration, it must assist every change of tone and
+letter as quick as a flash and with unerring accuracy; without
+changing its position too soon or remaining too long in it, in the
+highest range it must be able almost to speak out in the air.</p>
+
+<p>With all its strength and firmness this furrow must be of the utmost
+sensitiveness toward the breath, which, as I have often said, must not
+be subjected to the least pressure above the larynx or in the larynx<span class="pagenum"><a name="Page_184" id="Page_184">[Pg 184]</a></span>
+itself. Pressure must be limited to the abdominal and chest muscles;
+and this might better be called stress than pressure.</p>
+
+<p>Without hindrance the column of breath, at its upper end like
+diverging rays of light, must fill and expand all the mucous membranes
+with its vibrations equally, diffuse itself through the resonance
+chambers and penetrate the cavities of the head.</p>
+
+<p>When the back of the tongue can rise no higher, the larynx must be
+lowered. This often happens in the highest ranges, and one needs only
+to mingle an <i>oo</i> in the vowel to be sung, which must, however, be
+sounded not forward in the mouth but <i>behind the nose</i>. When the
+larynx must stand very low, the tongue naturally must not be <i>too</i>
+high, else it would affect the position of the larynx. The mass of the
+tongue must then be disposed of elsewhere; that is, by the formation
+of a furrow (see plate). One must learn to feel and hear it. To keep
+the larynx, the back of the tongue, and the palate al<span class="pagenum"><a name="Page_185" id="Page_185">[Pg 185]</a></span>ways in
+readiness to offer mutual assistance, must become a habit. I feel the
+interplay of tongue and larynx in my own case as shown in the plates.</p>
+
+<p>As soon as we have the tongue under control,&#8212;that is, have acquired
+the habit of forming a furrow,&#8212;we can use it confidently as a support
+for the breath and the tone, and for vowels.</p>
+
+<p>On its incurving back it holds firmly the vowels; with its tip, many
+of the consonants. With all its elasticity, it must be trained to
+great strength and endurance.</p>
+
+<p>I, for instance, after every syllable, at once jerk my tongue with
+tremendous power back to its normal position in singing; that is, with
+its tip below the front teeth and the base raised
+<img src="images/image39.jpg" width="50" height="39" alt="tongue" title="tongue" /> That
+goes on constantly, as quick as a flash. At the same time my larynx
+takes such a position that the tongue cannot interfere with it, that
+is, press upon it. By quickly raising the tongue toward<span class="pagenum"><a name="Page_186" id="Page_186">[Pg 186]</a></span> the back, it
+is taken out of the way of the larynx, and the mass of the tongue is
+cleared from the throat. In the middle range, where the tongue or the
+larynx might be too high or too low, the furrow, which is of so much
+importance, is formed, in order to lead the vocalized breath first
+against the front of the palate beneath the nose, then slowly along
+the nose and behind it. Then when the highest point (the peak, which
+is extremely extensible) is reached, the pillars of the fauces are
+lowered, in order to leave the way for the head tones to the head
+cavities entirely free. In doing this, the sides of the tongue are
+raised high. Every tongue should occupy only so much space as it can
+occupy without being a hindrance to the tone.</p>
+
+<p>The bad, bad tongue! one is too thick, another too thin, a third too
+long, a fourth much too short.</p>
+
+<p><i>Ladies and gentlemen, these are nothing but the excuses of the
+lazy!</i><span class="pagenum"><a name="Page_187" id="Page_187">[Pg 187]</a></span></p>
+
+<p style="text-align: center">&#160;</p>
+
+<p style="text-align: center">
+<a name="Path">
+<img src="images/image31.jpg" width="234" height="400" alt="breath" title="breath" /></a></p>
+
+<p style="text-align: center"><a href="images/i031.jpg">[Enlarge]</a></p>
+
+
+
+<hr style="width: 65%;" />
+<p><span class="pagenum"><a name="Page_189" id="Page_189">[Pg 189]</a></span></p>
+<h2><a name="SECTION_XXIII" id="SECTION_XXIII"></a>SECTION XXIII</h2>
+
+<h3>PREPARATION FOR SINGING</h3>
+
+
+<p><span class="smcap">No</span> one can sing properly without first preparing for it, mentally and
+physically, with all the organs concerned in the production of the
+voice.</p>
+
+<p>We have in this to perform three functions, simultaneously:&#8212;</p>
+
+<p><i>First</i>, to draw breath quietly, not too deeply; to force the breath
+against the chest and hold it there firmly till the upward and outward
+streaming&#8212;that is, singing&#8212;begins. (<a href="#Path">See plate, The Path of the
+Breath</a>.)</p>
+
+<p><i>Second</i>, to raise the soft palate at the same time toward the nose,
+so that the breath remains stationary until the singing begins.</p>
+
+<p><i>Third</i>, to jerk the tongue backward at the same time, its back being
+thus raised, and<span class="pagenum"><a name="Page_190" id="Page_190">[Pg 190]</a></span> elastic, ready to meet all the wishes of the
+singer,&#8212;that is, the needs of the larynx. The larynx must not be
+pressed either too low or too high, but must work freely. The breath
+is enabled to stream forth from it like a column, whose form is
+moulded above the larynx by the base of the tongue.</p>
+
+<p>When these three functions have been performed, all is ready. Now the
+pitch of the tone is to be considered, as the singing begins.</p>
+
+<p>The consummation (H&#246;hepunkt) of the tone, above the palate, gives the
+point of attack itself, under the palate.</p>
+
+<p>Now further care must be given that the point of attack on the
+palate&#8212;that is, the focal point of the breath&#8212;be not subjected to
+pressure, and that the entire supply of breath be not expended upon
+the palatal resonance.</p>
+
+<p>For this the palate must remain elastic, for it has a twofold duty to
+perform. It must not only furnish resistance for the focal<span class="pagenum"><a name="Page_191" id="Page_191">[Pg 191]</a></span> point of
+the breath,&#8212;except in the very highest head tones,&#8212;around which it
+can be diffused; the same resistance, which stands against the stream
+of breath from below, must also afford a firm, pliant, and elastic
+floor for the overtones, which, soaring above the palate, shift, as is
+needed, to or above the hard and soft palate, or are divided in the
+nose, forehead, and head cavities. It can easily be seen how any
+pressure in singing can be dangerous everywhere, and how careful the
+singer is forced to be to avoid such mistakes.</p>
+
+
+
+
+<hr style="width: 65%;" />
+<p><span class="pagenum"><a name="Page_192" id="Page_192">[Pg 192]</a></span></p>
+<h2><a name="SECTION_XXIV" id="SECTION_XXIV"></a>SECTION XXIV</h2>
+
+<h3>THE POSITION OF THE MOUTH (CONTRACTION OF THE MUSCLES OF SPEECH)</h3>
+
+
+<p><span class="smcap">What</span> must my sensations be with the muscles of speech? How shall I
+control them?</p>
+
+<p>The best position of the mouth, the means of securing the proper use
+of the muscles of speech and of the vocal organs, is established by
+pronouncing the vowel <i>&#257;</i>, not too sharply, in the middle range of
+the voice, and trying to retain the position of the muscles after the
+sound has ceased.</p>
+
+<p>This cannot be done without a <i>smiling</i> position of the mouth,
+consequently with a strong contraction of the muscles of the mouth,
+tongue, and throat, which can be felt to be drawn up as far as the
+ears.</p>
+
+<p>In doing so the tongue&#8212;as far as the tip<span class="pagenum"><a name="Page_193" id="Page_193">[Pg 193]</a></span>&#8212;lies of a pretty nearly
+even height to the back
+<img src="images/image40.jpg" width="50" height="36" alt="tongue" title="tongue" /> the soft palate soars without
+arching, but rather somewhat depressed over it.</p>
+
+<p>In pronouncing the vowels <i>&#257;</i> and <i>&#275;</i>, the bright vowels, the
+full stream of the breath, in the given position, can only partly pass
+between the tongue and the palate. The other part is forced&#8212;unless
+the larynx stands too high and can choke it off&#8212;above the palate into
+the nasal cavities, to seek its opportunity for resonance.</p>
+
+<p>The path for <i>&#257;</i> and <i>&#275;</i> above the palate is worthy of all
+attention as a place for the overtones of the middle voice. If the
+soft palate, in the lower middle tones, is forced too far toward the
+hard palate, the covered tones are without vibrancy. One must needs
+secure the help of the nose especially, when the palate is sunk
+beneath the nose, by inflating the nostrils and letting air stream in
+and out of them.<span class="pagenum"><a name="Page_194" id="Page_194">[Pg 194]</a></span></p>
+
+<p>I repeat the warning, not to force several tones upon the same
+resonating point, but to see that upon each tone the form necessary
+for succeeding tones is prepared. Neglect of this will sooner or later
+be paid for dearly.</p>
+
+<p>Notwithstanding the strong muscular contraction that the vocal organs
+must undergo in pronouncing the vowel <i>&#257;</i>, the breath must be able
+to flow gently and without hindrance through its form, in order
+completely to fill up its resonance chambers. Again, and always,
+attention must be given that in singing, and in speaking as well,
+nothing shall be cramped or held tense, except the pressure of the
+breath against the chest. It is of the utmost importance to maintain
+this position for <i>all</i> vowels, with the least possible perceptible
+modifications.</p>
+
+<p>How can this be done? <i>A</i> and <i>e</i> are bright vowels, must be sung with
+a pleasant, almost smiling, position of the mouth. <i>U</i> and <i>o</i>, on the
+contrary, are dark vowels, for<span class="pagenum"><a name="Page_195" id="Page_195">[Pg 195]</a></span> which the lips must be drawn into a
+sort of spout. Look at the position of the throat in these vowels: (1)
+as they are usually sung and spoken; (2) as I feel it, in singing, as
+I sing them, and as they must be sung and felt.</p>
+
+
+
+<hr style="width: 65%;" />
+<p><span class="pagenum"><a name="Page_196" id="Page_196">[Pg 196]</a></span></p>
+<h2><a name="SECTION_XXV" id="SECTION_XXV"></a>SECTION XXV</h2>
+
+<h3>CONNECTION OF VOWELS</h3>
+
+
+<p><span class="smcap">How</span> do I connect them with each other? If I wish to connect closely
+together two vowels that lie near to or far from each other, I must
+first establish the muscular contractions for <i>&#257;</i>, and introduce
+between the two vowels, whether they lie near together or far apart, a
+very well-defined <i>y</i>. Then (supposing, for instance, that I want to
+connect <i>&#257;</i> and <i>&#275;</i>) I must join the <i>&#257;</i> closely to the <i>y</i>,
+and the <i>y</i> closely to the <i>&#275;</i>, so that there is not the least
+resonating space between the two that is not filled during the changes
+in the position of the organs, however carefully this is undertaken.
+There must be no empty space, no useless escape of breath, between any
+two of the sounds.</p>
+
+<p style="text-align: center">&#160;</p>
+
+<p style="text-align: center">
+<img src="images/image32.jpg" width="350" height="268" alt="vowels" title="vowels" /></p>
+
+<p style="text-align: center"><a href="images/i032.jpg">[Enlarge]</a></p>
+
+<p style="text-align: center">&#160;</p>
+
+<p style="text-align: center">
+<img src="images/image33.jpg" width="400" height="299" alt="Bad. Good." title="Bad. Good." /></p>
+
+<p style="text-align: center"><a href="images/i033.jpg">[Enlarge]</a></p>
+
+<p style="text-align: center">&#160;</p>
+
+<p style="text-align: center">
+<img src="images/image34.jpg" width="350" height="263" alt="Wrong. Right." title="Wrong. Right." /></p>
+
+<p style="text-align: center"><a href="images/i034.jpg">[Enlarge]</a></p>
+
+<p style="text-align: center">&#160;</p>
+
+<p>At first only two, then three and four, and<span class="pagenum"><a name="Page_203" id="Page_203">[Pg 203]</a></span> then all the vowels in
+succession must be so practised:&#8212;</p>
+
+<p><i>A-ye, a-ye-yu, a-ye-yoo-y&#252;, a-ye-yo-y&#252;-yu-ye-yah.</i></p>
+
+<p>But there must be never more than so much breath at hand as is needed
+to make the vowel and the tone perfect. The more closely the vowels
+are connected with the help of the <i>y</i>, the less breath is emitted
+from the mouth unused, the more intimate is the connection of tone,
+and the less noticeable are the changes of the position of the organs
+in relation to each other.</p>
+
+<p>When I pass from <i>y&#257;-y&#275;</i> to <i>yoo</i>, I am compelled to develop
+very strongly the muscular contraction of the lips, which are formed
+into a long projecting spout; and this movement cannot be sufficiently
+exaggerated. With every new <i>y</i> I must produce renewed muscular
+contractions of the vocal organs, which gradually, through continuous
+practice, are trained to become almost like the finest, most pliable
+steel, upon which the fullest reliance<span class="pagenum"><a name="Page_204" id="Page_204">[Pg 204]</a></span> may be placed. From <i>yoo</i> it
+is best to go to <i>y&#252;</i>, that lies still farther forward and requires of
+the lips an iron firmness; then to <i>yo</i>, touching slightly on the <i>e</i>
+that lies above the <i>o</i>; then return to <i>y&#257;</i>, and not till then
+going to <i>ye-ah</i>, which must then feel thus:&#8212;</p>
+
+<table border="0" cellpadding="4" cellspacing="0" summary="">
+  <tbody>
+  <tr>
+    <td>&#160;</td>
+    <td style="text-align: center">e</td>
+    <td>&#160;</td>
+  </tr>
+  <tr>
+    <td style="text-align: left">oo-o</td>
+    <td>&#160;</td>
+    <td style="text-align: right">ah-&#257;</td>
+  </tr>
+  <tr>
+    <td>&#160;</td>
+    <td style="text-align: center">y</td>
+    <td>&#160;</td>
+  </tr>
+</tbody>
+</table>
+
+<p>The <i>y</i> is taken under the <i>ah</i>, that the word may not slide under;
+for usually the thought of <i>ah</i> relaxes all the organs: the tongue
+lies flat, the larynx becomes unsteady, is without definite position,
+and the palate is not arched and is without firmness. In this way <i>ah</i>
+becomes the most colorless and empty vowel of the whole list.</p>
+
+<p>With every change of vowel, or of any other letter, there are changes
+in the position of the organs, since tongue, palate, and larynx must
+take different positions for different sounds.</p>
+
+<p>With <i>&#257;</i> and <i>&#275;</i> the larynx stands higher, the palate is sunk,
+or in its normal position.<span class="pagenum"><a name="Page_205" id="Page_205">[Pg 205]</a></span></p>
+
+<p>With <i>oo</i>, <i>o</i>, and <i>ah</i> the larynx stands low, the palate is arched.</p>
+
+<p>With <i>a</i>, <i>e</i>, and <i>ah</i> the lips are drawn back.</p>
+
+<p>With <i>oo</i>, <i>o</i>, <i>&#252;</i>, and <i>&#246;</i> they are extended far forward.</p>
+
+<p>The auxiliary sound <i>y</i> connects them all with each other, so that the
+transitions are made quite imperceptibly. Since it is pronounced with
+the tongue drawn high against the palate, it prevents the base of the
+tongue from falling down again.</p>
+
+<p>This should be practised very slowly, that the sensations may be
+clearly discerned, and that no vibration that gives the vowel its
+pitch and duration may escape attention.</p>
+
+<p>The muscular contraction described comprises the chief functions of
+the vocal organs, and is as necessary for singing as the breath is for
+the tone. Year in and year out every singer and pupil must practise it
+in daily exercises as much as possible, on every tone of the vocal
+compass.</p>
+
+<p>In the lowest as well as in the highest<span class="pagenum"><a name="Page_206" id="Page_206">[Pg 206]</a></span> range the sharpness of the
+<i>a</i> is lost, as well as the clear definition of all single vowels. <i>A</i>
+should be mingled with <i>oo</i>, <i>ah</i>, and <i>e</i>. In the highest range, the
+vowels are merged in each other, because then the principal thing is
+not the vowel, but the high sound.</p>
+
+<p>Even the <i>thought</i> of <i>&#257;</i> and <i>&#275;</i>, the latter especially, raises
+the pitch of the tone. The explanation of this is that <i>&#257;</i> and
+<i>&#275;</i> possess sympathetic sounds above the palate that lead the
+breath to the resonance of the head cavities.</p>
+
+<p>For this reason tenors often, in high notes, resort to the device of
+changing words with dark vowels to words with the bright vowel <i>e</i>.
+They could attain the same end, without changing the whole word, by
+simply <i>thinking</i> of an <i>e</i>.</p>
+
+<p style="text-align: center">&#160;</p>
+
+<p style="text-align: center">
+<img src="images/image35.jpg" width="400" height="218" alt="vowels" title="vowels" /></p>
+
+<p style="text-align: center"><a href="images/i035.jpg">[Enlarge]</a></p>
+
+<p style="text-align: center">&#160;</p>
+
+<p>Without over-exertion, the singer can practise the exercises given
+above twenty times a day, in periods of ten to fifteen minutes each,
+and will soon appreciate the advantage of the muscular strengthening
+they<span class="pagenum"><a name="Page_209" id="Page_209">[Pg 209]</a></span> give. They make the voice fresh, not weary, as doubtless many
+will suppose.</p>
+
+<p>What, then, can be expected of an untrained organ? Nothing!</p>
+
+<p>Without daily vocal gymnastics no power of endurance in the muscles
+can be gained. They must be so strong that a great operatic r&#244;le can
+be repeated ten times in succession, in order that the singer may
+become able to endure the strain of singing in opera houses, in great
+auditoriums, and make himself heard above a great orchestra, without
+suffering for it.</p>
+
+<p>When I, for instance, was learning the part of <i>Isolde</i>, I could
+without weariness sing the first act alone six times in succession,
+with expression, action, and a full voice. That was my practice with
+all my r&#244;les. After I had rehearsed a r&#244;le a thousand times in my own
+room, I would go into the empty theatre and rehearse single scenes, as
+well as the whole opera, for hours at a time. That gave me the
+certainty of<span class="pagenum"><a name="Page_210" id="Page_210">[Pg 210]</a></span> being mistress of my resonances down to the last note;
+and very often I felt able to begin it all over again. So must it be,
+if one wishes to accomplish anything worth while.</p>
+
+<p>Another end also is attained by the same exercise,&#8212;the connection,
+not only of the vowels, but of all letters, syllables, words, and
+phrases. By this exercise the form for the breath, tone, and word, in
+which all the organs are adjusted to each other with perfect
+elasticity, is gradually established. Slowly but surely it assures
+greatest endurance in all the organs concerned in speaking and
+singing, the inseparable connection of the palatal resonance with the
+resonance of the head cavities. In this way is gained perfection in
+the art of singing, which is based, not on chance, but on knowledge;
+and this slow but sure way is the only way to gain it.</p>
+
+<p>By the above-described method all other alphabetical sounds can be
+connected, and<span class="pagenum"><a name="Page_211" id="Page_211">[Pg 211]</a></span> exercises can be invented to use with it, which are
+best adapted to correct the mistakes of pupils, at first on one, then
+step by step on two and three connected tones, etc.</p>
+
+<p>At the same time it is necessary to learn to move the tongue freely,
+and with the utmost quickness, by jerking it back, after pronouncing
+consonants, as quick as a flash, into the position in which it
+conducts the breath to the resonating chambers for the vowels. With
+all these movements is connected the power of elastically contracting
+and relaxing the muscles.</p>
+
+
+
+<hr style="width: 65%;" />
+<p><span class="pagenum"><a name="Page_212" id="Page_212">[Pg 212]</a></span></p>
+<h2><a name="SECTION_XXVI" id="SECTION_XXVI"></a>SECTION XXVI</h2>
+
+<h3>THE LIPS</h3>
+
+
+<p><span class="smcap">Of</span> special importance for the tone and the word are the movements of
+the lips, which are so widely different in the bright and in the dark
+vowels. These movements cannot be too much exaggerated in practising.
+The same strength and elasticity to which we have to train the muscles
+of the throat and tongue must be imparted to the lips, which must be
+as of iron. Upon their co&#246;peration much of the life of the tone
+depends, and it can be used in many shadings, as soon as one is able
+to exert their power consciously and under the control of the will.</p>
+
+<p>Every vowel, every word, every tone, can be colored as by magic in all
+sorts of ways by the well-controlled play of the lips; can, as it
+were, be imbued with life, as the lips<span class="pagenum"><a name="Page_213" id="Page_213">[Pg 213]</a></span> open or close more or less in
+different positions. The lips are the final cup-shaped resonators
+through which the tone has to pass. They can retard it or let it
+escape, can color it bright or dark, and exert a ceaseless and ever
+varying influence upon it long before it ceases and up to its very
+end.</p>
+
+<p>No attempt should be made to use the play of the lips until complete
+mastery of the absolutely even, perfect tone, and of the muscular
+powers, has been acquired. The effect must be produced as a result of
+power and practice; and should not be practised as an effect <i>per
+se</i>.</p>
+
+
+
+<hr style="width: 65%;" />
+<p><span class="pagenum"><a name="Page_214" id="Page_214">[Pg 214]</a></span></p>
+<h2><a name="SECTION_XXVII" id="SECTION_XXVII"></a>SECTION XXVII</h2>
+
+<h3>THE VOWEL-SOUND <i>AH</i></h3>
+
+
+<p><span class="smcap">There</span> is much discussion as to whether <i>ah</i>, <i>oo</i>, or some other vowel
+is the one best adapted for general practice. In former times practice
+was entirely on the vowel-sound <i>ah</i>. The old Italians taught it; my
+mother was trained so, and never allowed her pupils to use any other
+vowel during the first months of their instruction. Later, to be sure,
+every letter, every word, was practised and improved continually, till
+it was correct, and had impressed itself upon the memory, as well as
+the ear, of the pupil for all time.</p>
+
+<p>I explain the matter thus:&#8212;</p>
+
+<p>The singer's mouth should always make an agreeable impression. Faces
+that are forever grinning or showing fish mouths are disgusting and
+wrong.<span class="pagenum"><a name="Page_215" id="Page_215">[Pg 215]</a></span></p>
+
+<p>The pleasing expression of the mouth requires the muscular
+contractions that form the bright vowel <i>ah</i>.</p>
+
+<p>Most people who are not accustomed to using their vocal resonance
+pronounce the <i>ah</i> quite flat, as if it were the vowel-sound lying
+lowest. If it is pronounced with the position of the mouth belonging
+to the bright vowels, it has to seek its resonance, in speaking as
+well as in singing, in the same place as the dark vowels, on the
+high-arched palate. To permit this, it must be mingled with <i>oo</i>. The
+furrows in the tongue must also be formed, just as with <i>oo</i> and <i>o</i>,
+only special attention must be given that the back of the tongue does
+not fall, but remains high, as in pronouncing <i>&#257;</i>. In this way <i>ah</i>
+comes to lie between <i>oo-o'ah'y&#257;</i>, and forms at the same time the
+connection between the bright and the dark vowels, and the reverse.</p>
+
+<p>For this reason it was proper that <i>ah</i> should be preferred as the
+practice vowel, as soon as it was placed properly between<span class="pagenum"><a name="Page_216" id="Page_216">[Pg 216]</a></span> the two
+extremes, and had satisfied all demands. I prefer to teach it, because
+its use makes all mistakes most clearly recognizable. It is the most
+difficult vowel. If it is well pronounced, or sung, it produces the
+necessary muscular contractions with a pleasing expression of the
+mouth, and makes certain a fine tone color by its connection with <i>oo</i>
+and <i>o</i>. If the <i>ah</i> is equally well formed in all ranges of the
+voice, a chief difficulty is mastered.</p>
+
+<p>Those who have been badly taught, or have fallen into bad ways, should
+practise the vocal exercise I have given above, with <i>ya-ye-yah</i>,
+etc., slowly, listening to themselves carefully. Good results cannot
+fail; it is an infallible means of improvement.</p>
+
+<p>Italians who sing well never speak or sing the vowel sound <i>ah</i>
+otherwise than mixed, and only the neglect of this mixture could have
+brought about the decadence of the Italian teaching of song. In
+Germany no attention is paid to it. The <i>ah</i>, as sung<span class="pagenum"><a name="Page_217" id="Page_217">[Pg 217]</a></span> generally by
+most Italians of the present day, quite flat, sounds commonplace,
+almost like an affront. It can range itself, that is connect itself,
+with no other vowel, makes all vocal connection impossible, evolves
+very ugly registers; and, lying low in the throat, summons forth no
+palatal resonance. The power of contraction of the muscles of speech
+is insufficient, and this insufficiency misleads the singer to
+constrict the throat muscles, which are not trained to the endurance
+of it; thereby further progress is made impossible. In the course of
+time the tone becomes flat at the transitions. The fatal tremolo is
+almost always the result of this manner of singing.</p>
+
+<p>Try to sing a scale upward on <i>ah</i>, placing the tongue and muscles of
+speech at the same time on <i>&#257;</i>, and you will be surprised at the
+agreeable effect. Even the thought of it alone is often enough,
+because the tongue involuntarily takes the position of its own
+accord.<span class="pagenum"><a name="Page_218" id="Page_218">[Pg 218]</a></span></p>
+
+<p>I remember very well how Mme. D&#233;sir&#233;e Artot-Padilla, who had a low
+mezzo-soprano voice, used to toss off great coloratura pieces,
+beginning on the vowel-sound <i>ah</i>, and then going up and down on <i>a</i>,
+<i>ee</i>, <i>a&#252;oah</i>. At the time I could not understand why she did it; now
+I know perfectly,&#8212;because it was easier for her. The breath is
+impelled against the cavities of the head, the head tones are set into
+action.</p>
+
+<p>Behind the <i>a</i> position there must be as much room provided as is
+needed for all the vowels, with such modifications as each one
+requires for itself. The matter of chief importance is the position of
+the tongue <i>in</i> the throat, that it shall not be in the way of the
+larynx, which must be able to move up and down, even though very
+slightly, without hindrance.</p>
+
+<p>All vowels must be able to flow into each other; the singer must be
+able to pass from one to another without perceptible alteration, and
+back again.</p>
+
+
+
+<hr style="width: 65%;" />
+<p><span class="pagenum"><a name="Page_219" id="Page_219">[Pg 219]</a></span></p>
+<h2><a name="SECTION_XXVIII" id="SECTION_XXVIII"></a>SECTION XXVIII</h2>
+
+<h3>ITALIAN AND GERMAN</h3>
+
+
+<p><span class="smcap">How</span> easy it is for the Italians, who have by nature, through the
+characteristics of their native language, all these things which
+others must gain by long years of practice! A single syllable often
+unites three vowels; for instance, &quot;tuoi&quot; (tuoy&#275;), &quot;miei&quot;
+(myeay&#275;), &quot;muoja,&quot; etc.</p>
+
+<p>The Italians mingle all their vowels. They rub them into and color
+them with each other. This includes a great portion of the art of
+song, which in every language, with due regard to its peculiar
+characteristics, must be learned by practice.</p>
+
+<p>To give only a single example of the difficulty of the German words,
+with the everlasting consonant endings to the syllables, take the
+recitative at the entrance of Norma:<span class="pagenum"><a name="Page_220" id="Page_220">[Pg 220]</a></span>&#8212;</p>
+
+<p>&quot;Wer l&#228;sst hier Aufruhrstimme<i>n</i>, Kriegsruf ert&#246;ne<i>n</i>, wollt Ihr die
+G&#246;tter zwinge<i>n</i>, Eurem Wahnwitz zu fr&#246;hne<i>n</i>? Wer wagt vermesse<i>n</i>,
+gleich der Propheti<i>n</i> der Zukunft Nacht zu lichte<i>n</i>, wollt Ihr der
+G&#246;tter Pla<i>n</i> vorschnell vernichte<i>n</i>? Nicht Menschenkraft K&#246;nne<i>n</i>
+die Wirre<i>n</i> dieses Landes schlichte<i>n</i>.&quot;</p>
+
+<p>Twelve endings on <i>n</i>!</p>
+
+<p>&quot;Sediziosi voci, voci di guerra, <span lang="el" title="Transcriber's Note: corrected &quot;avoi&quot; in original">avvi</span>
+chi alzar si attenta presso all'ara del Dio! V'ha
+chi presume dettar responsi alla vegente Norma, e di Roma affrettar il
+fato arcano. Ei non dipende, no, non dipende da potere umano!&quot;</p>
+
+<p>From the Italians we can learn the connection of the vowels, from the
+French the use of the nasal tone. The Germans surpass the others in
+their power of expressiveness. But he who would have the right to call
+himself an artist must unite all these things; the <i>bel canto</i>, that
+is, beautiful&#8212;I might say good&#8212;singing, and all the means of
+expression which we cultivated people need to interpret<span class="pagenum"><a name="Page_221" id="Page_221">[Pg 221]</a></span> master works
+of great minds, should afford the public ennobling pleasure.</p>
+
+<p>A tone full of life is to be produced only by the skilful mixture of
+the vowels, that is, the unceasing leaning of one upon the others,
+without, however, affecting any of its characteristics. This means, in
+reality, only the complete use of the resonance of the breath, since
+the mixture of the vowels can be obtained only through the elastic
+conjunction of the organs and the varying division of the stream of
+breath toward the palatal resonance, or that of the cavities of the
+head, or the equalization of the two.</p>
+
+<p>The larynx must rise and descend unimpeded by the tongue, soft palate
+and pillars of the fauces rise and sink, the soft palate always able
+more or less to press close to the hard. Strong and elastic
+contractions imply very pliable and circumspect relaxation of the
+same.</p>
+
+<p>I think that the feeling I have of the extension of my throat comes
+from the very<span class="pagenum"><a name="Page_222" id="Page_222">[Pg 222]</a></span> powerful yet very elastic contraction of my muscles,
+which, though feeling always in a state of relaxability, appear to me
+like flexible steel, of which I can demand everything,&#8212;because never
+too much,&#8212;and which I exercise daily. Even in the entr'actes of grand
+operas I go through with such exercises; for they refresh instead of
+exhausting me.</p>
+
+<p>The unconstrained co&#246;peration of all the organs, as well as their
+individual functions, must go on elastically without any pressure or
+cramped action. Their interplay must be powerful yet supple, that the
+breath which produces the tone may be diffused as it flows from one to
+another of the manifold and complicated organs (such as the ventricles
+of Morgagni), supporting itself on others, being caught in still
+others, and finding all in such a state of readiness as is required in
+each range for each tone. Everything must be combined in the right way
+as a matter of habit.</p>
+
+<p>The voice is equalized by the proper rami<span class="pagenum"><a name="Page_223" id="Page_223">[Pg 223]</a></span>fication of the breath and
+the proper connection of the different resonances.</p>
+
+<p>The tone is colored by the proper mixture of vowels; <i>oo</i>, <i>o</i>, and
+<i>ah</i> demanding more palatal resonance and a lower position of the
+larynx, <i>a</i> and <i>e</i> more resonance of the head cavities and a higher
+position of the larynx. With <i>oo</i>, <i>o</i>, <i>&#252;</i>, and <i>ah</i> the palate is
+arched higher (the tongue forming a furrow) than with <i>&#257;</i>, <i>&#275;</i>,
+and <i>&#252;</i>, where the tongue lies high and flat.</p>
+
+<p>There are singers who place the larynx too low, and, arching the
+palate too high, sing too much toward <i>oo</i>. Such voices sound very
+dark, perhaps even hollow; they lack the interposition of the
+<i>&#257;</i>,&#8212;that is, the larynx is placed too low.</p>
+
+<p>On the other hand, there are others who press it upward too high;
+their <i>a</i> position is a permanent one. Such voices are marked by a
+very bright, sharp quality of tone, often like a goat's bleating.</p>
+
+<p>Both are alike wrong and disagreeable.<span class="pagenum"><a name="Page_224" id="Page_224">[Pg 224]</a></span> The proper medium between them
+must be gained by sensitive training of the ear, and a taste formed by
+the teacher through examples drawn from his own singing and that of
+others.</p>
+
+<p>If we wish to give a noble expression to the tone and the word, we
+must mingle its vocal sound, if it is not so, with <i>o</i> or <i>oo</i>. If we
+wish to give the word merely an agreeable expression, we mingle it
+with <i>ah</i>, <i>&#257;</i>, and <i>&#275;</i>. That is, we must use all the qualities
+of tonal resonance, and thus produce colors which shall benefit the
+tone and thereby the word and its expression.</p>
+
+<p>Thus a single tone may be taken or sung in many different ways. In
+every varying connection, consequently, the singer must be able to
+change it according to the expression desired. But as soon as it is a
+question of a <i>musical phrase</i>, in which several tones or words, or
+tones alone, are connected, the law of progression must remain in
+force; expression must be sacrificed, partly at least, to the beauty
+of the musical passage.<span class="pagenum"><a name="Page_225" id="Page_225">[Pg 225]</a></span></p>
+
+<p>If he is skilful enough, the singer can impart a certain expression of
+feeling to even the most superficial phrases and coloratura passages.
+Thus, in the coloratura passages of Mozart's arias, I have always
+sought to gain expressiveness by <i>crescendi</i>, choice of significant
+points for breathing, and breaking off of phrases. I have been
+especially successful with this in the <i>Entf&#252;hrung</i>, introducing a
+tone of lament into the first aria, a heroic dignity into the second,
+through the coloratura passages. Without exaggerating petty details,
+the artist must exploit all the means of expression that he is
+justified in using.</p>
+
+
+
+<hr style="width: 65%;" />
+<p><span class="pagenum"><a name="Page_226" id="Page_226">[Pg 226]</a></span></p>
+<h2><a name="SECTION_XXIX" id="SECTION_XXIX"></a>SECTION XXIX</h2>
+
+<h3>AUXILIARY VOWELS</h3>
+
+
+<p><span class="smcap">Like</span> the auxiliary verbs &quot;will&quot; and &quot;have,&quot; <i>&#257;</i>, <i>&#275;</i>, and <i>oo</i>
+are auxiliary vowels, of whose aid we are constantly compelled to
+avail ourselves. It will perhaps sound exaggerated when I present an
+example of this, but as a matter of fact pronunciation is consummated
+in this way; only, it must not become noticeable. The method seems
+singular, but its object is to prevent the leaving of any empty
+resonance space, and to obviate any interruptions that could affect
+the perfection of the tone.</p>
+
+<p>For example, when I wish to sing the word &quot;Fr&#228;ulein,&quot; I must first,
+and before all else, think of the pitch of the tone, before I attack
+the <i>f</i>. With the <i>f</i>, the tone must be there already, <i>before</i> I have
+pronounced it; to pass<span class="pagenum"><a name="Page_227" id="Page_227">[Pg 227]</a></span> from the <i>f</i> to the <i>r</i> I must summon to my
+aid the auxiliary vowel <i>oo</i>, in order to prevent the formation of any
+unvocalized interstices in the sound. The <i>r</i> must not now drop off,
+but must in turn be joined to the <i>oo</i>, while the tongue should not
+drop down behind,
+<img src="images/image41.jpg" width="50" height="35" alt="tongue" title="tongue" /> but should complete the vibrations
+thus, <img src="images/image42.jpg" width="50" height="29" alt="tongue" title="tongue" /> in a straight line. (See plate.)</p>
+
+<p style="text-align: center">&#160;</p>
+
+<p style="text-align: center">
+<img src="images/image36.jpg" width="300" height="91" alt="Fraulein" title="Fraulein" /></p>
+
+<p style="text-align: center">&#160;</p>
+
+<p>It is very interesting to note how much a word can gain or lose in
+fulness and beauty of tone. Without the use of auxiliary vowels no
+connection of the resonance in words can be effected; there is then no
+beautiful tone in singing, only a kind of hacking. Since it must be
+quite imperceptible, the use of auxiliary vowels must be very
+artistically managed, and is best practised in the beginning very
+slowly on single tones and words, then proceeding with great care to
+two tones, two<span class="pagenum"><a name="Page_228" id="Page_228">[Pg 228]</a></span> syllables, and so on. In this way the pupil learns to
+<i>hear</i>. But he must learn to hear very slowly and for a long time,
+until there is no failure of vibration in the tone and word, and it is
+all so impressed upon his memory that it can never be lost. The
+auxiliary vowels must always be present, but the listener should be
+able to hear, from the assistance of the <i>oo</i>, only the warmth and
+nobility of the tone, from the <i>a</i> and <i>e</i> only the carrying power and
+brilliancy of it.</p>
+
+
+
+<hr style="width: 65%;" />
+<p><span class="pagenum"><a name="Page_229" id="Page_229">[Pg 229]</a></span></p>
+<h2><a name="SECTION_XXX" id="SECTION_XXX"></a>SECTION XXX</h2>
+
+<h3>RESONANT CONSONANTS</h3>
+
+
+<p><i>K</i>, <i>l</i>, <i>m</i>, <i>n</i>, <i>p</i>, <i>s</i>, and <i>r</i> at the end of a word or syllable
+must be made resonant by joining to the end of the word or syllable a
+rather audible <i>&#277;</i> (<i>eh</i>); for instance, Wandel<sup>e</sup>, Gretel<sup>e</sup>,
+etc.</p>
+
+<p>A thing that no one teaches any longer, or knows or is able to do, a
+thing that only Betz and I knew, and with me will probably disappear
+entirely, is the dividing and ending of syllables that must be
+effected under certain conditions. It may have originated with the
+Italian school.</p>
+
+<p>I was taught it especially upon double consonants. When two come
+together, they must be divided; the first, as in Him-mel, being
+sounded dull, and without resonance, the syllable and tone being kept
+as nasal as<span class="pagenum"><a name="Page_230" id="Page_230">[Pg 230]</a></span> possible, the lips closed, and a pause being made between
+the two syllables; not till then is the second syllable pronounced,
+with a new formation of the second consonant.</p>
+
+<p>And this is done, not only in case of a doubling of one consonant, but
+whenever two consonants come together to close the syllable; for
+instance, win-ter, dring-en, kling-en, bind-en; in these the nasal
+sound plays a specially important part.</p>
+
+<p>The tediousness of singing without proper separation of the syllables
+is not appreciated till it has been learned how to divide the
+consonants. The nasal close of itself brings a new color into the
+singing, which must be taken into account; and moreover, the word is
+much more clearly intelligible, especially in large auditoriums, where
+an appreciable length of time is needed for it to reach the listener.
+By the nasal close, also, an uninterrupted connection is assured
+between the consonant and the tone, even if the latter has to cease,
+apparently, for an instant.<span class="pagenum"><a name="Page_231" id="Page_231">[Pg 231]</a></span></p>
+
+<p>I teach all my pupils thus. But since most of them consider it
+something unheard of to be forced to pronounce in this way, they very
+rarely bring it to the artistic perfection which alone can make it
+effective. Except from Betz, I have never heard it from any one. After
+me no one will teach it any more. I shall probably be the last one. A
+pity!</p>
+
+
+
+<hr style="width: 65%;" />
+<p><span class="pagenum"><a name="Page_232" id="Page_232">[Pg 232]</a></span></p>
+<h2><a name="SECTION_XXXI" id="SECTION_XXXI"></a>SECTION XXXI</h2>
+
+<h3>PRACTICAL EXERCISES</h3>
+
+
+<p><span class="smcap">The</span> practical study of singing is best begun with single sustained
+tones, and with preparation on the sound of <i>ah</i> alone, mingled with
+<i>o</i> and <i>oo</i>. A position as if one were about to yawn helps the tongue
+to lie in the right place.</p>
+
+<p>In order not to weary young voices too much, it is best to begin in
+the middle range, going upward first, by semitones, and then, starting
+again with the same tone, going downward. All other exercises begin in
+the lower range and go upward.</p>
+
+<p>The pupil must first be able to make a single tone good, and judge it
+correctly, before he should be allowed to proceed to a second. Later,
+single syllables or words can be used as exercises for this.<span class="pagenum"><a name="Page_233" id="Page_233">[Pg 233]</a></span></p>
+
+<p>The position of the mouth and tongue must be watched in the mirror.
+The vowel <i>ah</i> must be mingled with <i>o</i> and <i>oo</i>, and care must be
+taken that the breath is forced strongly against the chest, and felt
+attacking here and on the palate at the same time. Begin <i>piano</i>, make
+a long <i>crescendo</i>, and gradually return and end on a well-controlled
+<i>piano</i>. My feeling at the attack is as shown in the plate.</p>
+
+<p>At the same instant that I force the breath against the chest, I place
+the tone <i>under</i> its highest point on the palate, and let the
+overtones soar above the palate&#8212;the two united in one thought. Only
+in the lowest range can the overtones, and in the highest range the
+undertones (resonance of the head cavities and of the palate), be
+dispensed with.</p>
+
+<p>With me the throat never comes into consideration; I feel absolutely
+nothing of it, at most only the breath gently streaming through it. A
+tone should never be forced; <i>never press</i> the breath against the
+resonating<span class="pagenum"><a name="Page_234" id="Page_234">[Pg 234]</a></span> chambers, but only against the chest; and NEVER hold it
+back. The organs should not be cramped, but should be allowed to
+perform their functions elastically.</p>
+
+<p>The contraction of the muscles should never exceed their power to
+relax. A tone must always be sung, whether strong or soft, with an
+easy, conscious power. Further, before all things, sing always with
+due regard to the pitch.</p>
+
+<p>In this way the control of the ear is exercised over the pitch,
+strength, and duration of the tone, and over the singer's strength and
+weakness, of which we are often forced to make a virtue. In short, one
+learns to recognize and to produce a perfect tone.</p>
+
+<p style="text-align: center">&#160;</p>
+
+<p style="text-align: center">
+<img src="images/image37.jpg" width="227" height="400" alt="attack" title="attack" /></p>
+
+<p style="text-align: center"><a href="images/i037.jpg">[Enlarge]</a></p>
+
+<p style="text-align: center">&#160;</p>
+
+<p>In all exercises go as low and as high as the voice will allow without
+straining, and always make little pauses to rest between them, even if
+you are not tired, in order to be all the fresher for the next one.
+With a certain amount of skill and steady purpose the voice increases
+its compass, and takes the<span class="pagenum"><a name="Page_237" id="Page_237">[Pg 237]</a></span> proper range, easiest to it by nature.
+The pupil can see then how greatly the compass of a voice can be
+extended. For amateurs it is not necessary; but it is for every one
+who practises the profession of a singer in public.</p>
+
+<p>For a second exercise, sing connectedly two half-tones, slowly, on one
+or two vowels, bridging them with the auxiliary vowels and the <i>y</i> as
+the support of the tongue, etc.</p>
+
+<p>Every tone must seek its best results from all the organs concerned in
+its production; must possess power, brilliancy, and mellowness in
+order to be able to produce, before leaving each tone, the propagation
+form for the next tone, ascending as well as descending, and make it
+certain.</p>
+
+<p>No exercise should be dropped till every vibration of every tone has
+clearly approved itself to the ear, not only of the teacher, but also
+of the pupil, as <i>perfect</i>.</p>
+
+<p>It takes a long time to reach the full consciousness of a tone. After
+it has passed<span class="pagenum"><a name="Page_238" id="Page_238">[Pg 238]</a></span> the lips it must be diffused outside, before it can
+come to the consciousness of the listener as well as to that of the
+singer himself. So practise <i>singing</i> slowly and <i>hearing</i> slowly.</p>
+
+
+
+<hr style="width: 65%;" />
+<p><span class="pagenum"><a name="Page_239" id="Page_239">[Pg 239]</a></span></p>
+<h2><a name="SECTION_XXXII" id="SECTION_XXXII"></a>SECTION XXXII</h2>
+
+<h3>THE GREAT SCALE</h3>
+
+
+<p><span class="smcap">This</span> is the most necessary exercise for all kinds of voices. It was
+taught to my mother; she taught it to all her pupils and to us. But
+<i>I</i> am probably the only one of them all who practises it faithfully!
+I do not trust the others. As a pupil one must practise it twice a
+day, as a professional singer at least once.</p>
+
+<p style="text-align: center">&#160;</p>
+
+<p style="text-align: center">
+<img src="images/music04.jpg" width="700" height="97" alt="music" title="music" /></p>
+
+<p style="text-align: center"><a href="music/music04.mid">[Listen]</a></p>
+
+<p style="text-align: center">&#160;</p>
+
+<p>The breath must be well prepared, the expiration still better, for the
+duration of these five and four long tones is greater than would be
+supposed. The first tone must be attacked not too <i>piano</i>, and sung
+only so strongly as is necessary to reach the next<span class="pagenum"><a name="Page_240" id="Page_240">[Pg 240]</a></span> one easily without
+further crescendo, while the propagation form for the next tone is
+produced, and the breath wisely husbanded till the end of the phrase.</p>
+
+<p>The first of each of the phrases ends nasally in the middle range, the
+second toward the forehead and the cavities of the head. The lowest
+tone must already be prepared to favor the resonance of the head
+cavities, by thinking of <i>&#257;</i>, consequently placing the larynx high
+and maintaining the resonating organs in a <i>very</i> supple and elastic
+state. In the middle range, <i>ah</i> is mingled particularly with <i>oo</i>,
+that the nose may be reached; further, the auxiliary vowel <i>e</i> is
+added to it, which guides the tone to the head cavities. In descending
+the attack must be more concentrated, as the tone is slowly directed
+toward the nose on <i>oo</i> or <i>o</i>, to the end of the figure.</p>
+
+<p>When <i>oo</i>, <i>a</i>, and <i>e</i> are auxiliary vowels, they need not be plainly
+pronounced. (They form an exception in the diphthongs,<span class="pagenum"><a name="Page_241" id="Page_241">[Pg 241]</a></span> &quot;Trauuum,&quot;
+&quot;Leiiid,&quot; &quot;Lauuune,&quot; &quot;Feuyer,&quot; etc.) As auxiliary vowels they are only
+means to an end, a bridge, a connection from one thing to another.
+They can be taken anywhere with any other sound; and thence it may be
+seen how elastic the organs can be when they are skilfully managed.</p>
+
+<p>The chief object of the great scale is to secure the pliant, sustained
+use of the breath, precision in the preparation of the propagation
+form, the proper mixture of the vowels which aid in placing the organs
+in the right position for the tone, to be changed for every different
+tone, although imperceptibly; further, the intelligent use of the
+resonance of the palate and head cavities, especially the latter,
+whose tones, soaring above everything else, form the connection with
+the nasal quality for the whole scale.</p>
+
+<p>The scale must be practised without too strenuous exertion, but not
+without power, gradually extending over the entire compass of the
+voice; and that is, if it is to be per<span class="pagenum"><a name="Page_242" id="Page_242">[Pg 242]</a></span>fect, over a compass of two
+octaves. These two octaves will have been covered, when, advancing the
+starting-point by semitones, the scale has been carried up through an
+entire octave. So much every voice can finally accomplish, even if the
+high notes must be very feeble.</p>
+
+<p>The great scale, properly elaborated in practice, accomplishes
+wonders: it equalizes the voice, makes it flexible and noble, gives
+strength to all weak places, operates to repair all faults and breaks
+that exist, and controls the voice to the very heart. Nothing escapes
+it.</p>
+
+<p>By it ability as well as inability is brought to light&#8212;something that
+is extremely unpleasant to those without ability. In my opinion it is
+the ideal exercise, but the most difficult one I know. By devoting
+forty minutes to it every day, a consciousness of certainty and
+strength will be gained that ten hours a day of any other exercise
+cannot give.</p>
+
+<p>This should be the chief test in all conser<span class="pagenum"><a name="Page_243" id="Page_243">[Pg 243]</a></span>vatories. If I were at the
+head of one, the pupils should be allowed for the first three years to
+sing at the examinations only <i>difficult</i> exercises, like this great
+scale, before they should be allowed to think of singing a song or an
+aria, which I regard only as cloaks for incompetency.</p>
+
+<p>For teaching me this scale&#8212;this guardian angel of the voice&#8212;I cannot
+be thankful enough to my mother. In earlier years I used to like to
+express myself freely about it. There was a time when I imagined that
+it strained me. My mother often ended her warnings at my neglect of it
+with the words, &quot;You will be very sorry for it!&quot; And I was very sorry
+for it. At one time, when I was about to be subjected to great
+exertions, and did not practise it every day, but thought it was
+enough to sing coloratura fireworks, I soon became aware that my
+transition tones would no longer endure the strain, began easily to
+waver, or threatened even to become too flat. The realization of it
+was terri<span class="pagenum"><a name="Page_244" id="Page_244">[Pg 244]</a></span>ble! It cost me many, many years of the hardest and most
+careful study; and it finally brought me to realize the necessity of
+exercising the vocal organs continually, and in the proper way, if I
+wished always to be able to rely on them.</p>
+
+<p>Practice, and especially the practice of the great, slow scale, is the
+only cure for all injuries, and at the same time the most excellent
+means of fortification against all over-exertion. I sing it every day,
+often twice, even if I have to sing one of the greatest r&#244;les in the
+evening. I can rely absolutely on its assistance.</p>
+
+<p>If I had imparted nothing else to my pupils but the ability to sing
+this one great exercise well, they would possess a capital fund of
+knowledge which must infallibly bring them a rich return on their
+voices. I often take fifty minutes to go through it only once, for I
+let no tone pass that is lacking in any degree in pitch, power, and
+duration, or in a single vibration of the propagation form.</p>
+
+
+
+<hr style="width: 65%;" />
+<p><span class="pagenum"><a name="Page_245" id="Page_245">[Pg 245]</a></span></p>
+<h2><a name="SECTION_XXXIII" id="SECTION_XXXIII"></a>SECTION XXXIII</h2>
+
+<h3>VELOCITY</h3>
+
+
+<p><span class="smcap">Singers</span>, male and female, who are lacking velocity and the power of
+trilling, seem to me like horses without tails. Both of these things
+belong to the art of song, and are inseparable from it. It is a matter
+of indifference whether the singer has to use them or not; he must be
+able to. The teacher who neither teaches nor can teach them to his
+pupils is a <i>bad teacher</i>; the pupil who, notwithstanding the urgent
+warnings of his teacher, neglects the exercises that can help him to
+acquire them, and fails to perfect himself in them, is a <i>bungler</i>.
+There is no excuse for it but lack of talent, or laziness; and neither
+has any place in the higher walks of art.</p>
+
+<p>To give the voice velocity, practise first slowly, then faster and
+faster, figures of<span class="pagenum"><a name="Page_246" id="Page_246">[Pg 246]</a></span> five, six, seven, and eight notes, etc., upward
+and downward.</p>
+
+<p>If one has well mastered the great, slow scale, with the nasal
+connection, skill in singing rapid passages will be developed quite of
+itself, because they both rest on the same foundation, and without the
+preliminary practice can never be understood.</p>
+
+<p>Put the palate into the nasal position, the larynx upon <i>&#339;</i>; attack
+the lowest tone of the figure with the thought of the highest; force
+the breath, as it streams very vigorously forth from the larynx,
+toward the nose, but allow the head current entire freedom, without
+entirely doing away with the nasal quality; and then run up the scale
+with great firmness.</p>
+
+<p>In descending, keep the form of the highest tone, even if there should
+be eight to twelve tones in the passage, so that the scale slides
+down, not a pair of stairs, but a smooth track, the highest tone
+affording, as it were, a guarantee that on the way there shall be no
+impediment or sudden drop.<span class="pagenum"><a name="Page_247" id="Page_247">[Pg 247]</a></span> The resonance form, kept firm and tense,
+must adapt itself with the utmost freedom to the thought of every
+tone, and with it, to the breath. The pressure of the breath against
+the chest must not be diminished, but must be unceasing.</p>
+
+<p>To me it is always as if the pitch of the highest tone were already
+contained in the lowest, so strongly concentrated upon the whole
+figure are my thoughts at the attack of a single tone. By means of
+<i>ah-e-&#257;</i>, larynx, tongue, and palatal position on the lowest tone
+are in such a position that the vibrations of breath for the highest
+tones are already finding admission into the head cavities, and as far
+as possible are in sympathetic vibration there.</p>
+
+<p>The higher the vocal figures go the more breath they need, the less
+can the breath and the organs be pressed. The higher they are, the
+more breath must stream forth from the epiglottis; therefore the
+<i>&#257;</i> and the thought of <i>e</i>, which keep the passages to<span class="pagenum"><a name="Page_248" id="Page_248">[Pg 248]</a></span> the head
+open. But because there is a limit to the scope of the movement of
+larynx and tongue, and they cannot rise higher and higher with a
+figure that often reaches to an immense height, the singer must resort
+to the aid of the auxiliary vowel <i>oo</i>, in order to lower the larynx
+and so make room for the breath:</p>
+
+<p style="text-align: center">&#160;</p>
+
+<p style="text-align: center">
+<img src="images/music05.jpg" width="700" height="121" alt="music" title="music" /></p>
+
+<p style="text-align: center"><a href="music/music05.mid">[Listen]</a></p>
+
+<p style="text-align: center">&#160;</p>
+
+<p>A run or any other figure must never sound thus:</p>
+
+<p style="text-align: center">&#160;</p>
+
+<p style="text-align: center">
+<img src="images/music06.jpg" width="300" height="93" alt="music" title="music" /></p>
+
+<p style="text-align: center"><a href="music/music06.mid">[Listen]</a></p>
+
+<p style="text-align: center">&#160;</p>
+
+<p>but must be nasally modified above, and tied; and because the breath
+must flow out unceasingly in a powerful stream from the vocal cords,
+an <i>h</i> can only be put in beneath, which makes us sure of this
+powerful streaming out of the breath, and helps only the<span class="pagenum"><a name="Page_249" id="Page_249">[Pg 249]</a></span> branch
+stream of breath into the cavities of the head. Often singers hold the
+breath, concentrated on the nasal form, firmly on the lowest tone of a
+figure, and, without interrupting this nasal form, or the head tones,
+that is, the breath vibrating in the head cavities, finish the figure
+alone. When this happens the muscular contractions of the throat,
+tongue, and palate are very strong.</p>
+
+<p style="text-align: center">&#160;</p>
+
+<p style="text-align: center">
+<img src="images/music07.jpg" width="700" height="100" alt="L'oiselet. Chopin-Viardat" title="L'oiselet. Chopin-Viardat" /></p>
+
+<p style="text-align: center"><a href="music/music07.mid">[Listen]</a></p>
+
+<p style="text-align: center">&#160;</p>
+
+<p>The turn, too, based on the consistent connection of the tonal figure
+with the nasal quality,&#8212;which is obtained by pronouncing the <i>oo</i>
+toward the nose,&#8212;and firmly held there, permits no interruption for
+an instant to the vowel sound.</p>
+
+<p>How often have I heard the <i>ha-ha-ha-haa</i>,<span class="pagenum"><a name="Page_250" id="Page_250">[Pg 250]</a></span> etc.,&#8212;a wretched tumbling
+down of different tones, instead of a smooth decoration of the
+cantilena. Singers generally disregard it, because no one can do it
+any more, and yet even to-day it is of the greatest importance. (See
+<i>Tristan und Isolde</i>.)</p>
+
+<p>The situation is quite the same in regard to the appoggiatura. In
+this the resonance is made nasal and the flexibility of the
+larynx,&#8212;which, without changing the resonance, moves quickly up and
+down&#8212;accomplishes the task alone. Here, too, it can almost be
+imagined that the <i>thought</i> alone is enough, for the connection
+of the two tones cannot be too close. But this must be practised, and
+done <i>consciously</i>.</p>
+
+<p style="text-align: center">&#160;</p>
+
+<p style="text-align: center">
+<img src="images/music08.jpg" width="500" height="105" alt="Adelaide, by Beethoven" title="Adelaide, by Beethoven" /></p>
+
+<p style="text-align: center"><a href="music/music08.mid">[Listen]</a></p>
+
+<p style="text-align: center"><i>[Transcriber's Note: Corrected "L'au-be" in
+original lyrics to "Lau-be"]</i></p>
+
+<hr style="width: 65%;" />
+<p><span class="pagenum"><a name="Page_251" id="Page_251">[Pg 251]</a></span></p>
+<h2><a name="SECTION_XXXIV" id="SECTION_XXXIV"></a>SECTION XXXIV</h2>
+
+<h3>TRILL</h3>
+
+
+<p><span class="smcap">There</span> still remains the trill, which is best practised in the
+beginning as follows:&#8212;</p>
+
+<p style="text-align: center">&#160;</p>
+
+<p style="text-align: center">
+<img src="images/music09.jpg" width="700" height="151" alt="trills" title="trills" /></p>
+
+<p style="text-align: center"><a href="music/music09.mid">[Listen]</a></p>
+
+<p style="text-align: center">&#160;</p>
+
+<p>The breath is led very far back against the head cavities by the
+<i>&#257;</i>, the larynx kept as stiff as possible and placed high. Both
+tones are connected as closely, as heavily as possible, upward
+nasally, downward <i>on</i> the larynx, for which the <i>y</i>, again, is
+admirably suited. They must be attacked as high as possible, and very
+strongly. The trill exercise must be practised almost as a scream.<span class="pagenum"><a name="Page_252" id="Page_252">[Pg 252]</a></span>
+The upper note must always be strongly <i>accented</i>. The exercise is
+practised with an even strength, without decrescendo to the end; the
+breath streams out more and more strongly, uninterruptedly to the
+finish.</p>
+
+<p>Trill exercises must be performed with great energy, on the whole
+compass of the voice. They form an exception to the rule in so far
+that in them more is given to the throat to do&#8212;always, however, under
+the control of the chest&#8212;than in other exercises. That relates,
+however, to the muscles.</p>
+
+<p>The breath vibrates <i>above</i> the larynx, but does not stick in it,
+consequently this is not dangerous.</p>
+
+<p>The exercise is practised first on two half, then on two whole, tones
+of the same key (as given above), advancing by semitones, twice a day
+on the entire compass of the voice. It is exhausting because it
+requires great energy; but for the same reason it gives strength.
+Practise it first as slowly<span class="pagenum"><a name="Page_253" id="Page_253">[Pg 253]</a></span> and vigorously as the strength of the
+throat allows, then faster and faster, till one day the trill
+unexpectedly appears. With some energy and industry good results
+should be reached in from six to eight weeks, and the larynx should
+take on the habit of performing its function by itself. This function
+gradually becomes a habit, so that it seems as if only <i>one</i> tone were
+attacked and held, and as if the second tone simply vibrated with it.
+As a matter of fact, the larynx will have been so practised in the
+minute upward and downward motion, that the singer is aware only of
+the vibrations of the breath that lie <i>above</i> it, while he remains
+mindful all the time only of the pitch of the upper note.</p>
+
+<p>One has the feeling then as of singing or holding only the <i>lower</i>
+tone (which must be placed very high), while the upper one vibrates
+with it simply through the habitude of the accentuation. The union of
+the two then comes to the singer's consciousness as<span class="pagenum"><a name="Page_254" id="Page_254">[Pg 254]</a></span> if he were
+singing the lower note somewhat too high, halfway toward the upper
+one. This is only an aural delusion, produced by the high vibrations.
+But the trill, when fully mastered, should always be begun, as in the
+exercise, on the <i>upper</i> note.</p>
+
+<p>Every voice must master the trill, after a period, longer or shorter,
+of proper practice. Stiff, strong voices master it sooner than small,
+weak ones. I expended certainly ten years upon improving it, because
+as a young girl I had so very little strength, although my voice was
+very flexible in executing all sorts of rapid passages.</p>
+
+<p>To be able to use it anywhere, of course, requires a long time and
+much practice. For this reason it is a good plan to practise it on
+syllables with different vowels, such as can all be supported on
+<i>&#257;</i>, and on words, as soon as the understanding needed for this is
+in some degree assured.</p>
+
+<p>If the larynx has acquired the habit<span class="pagenum"><a name="Page_255" id="Page_255">[Pg 255]</a></span> properly, the trill can be
+carried on into a <i>piano</i> and <i>pianissimo</i> and prolonged almost
+without end with <i>crescendi</i> and <i>decrescendi</i>, as the old Italians
+used to do, and as <i>all Germans</i> do who have learned anything.</p>
+
+
+
+<hr style="width: 65%;" />
+<p><span class="pagenum"><a name="Page_256" id="Page_256">[Pg 256]</a></span></p>
+<h2><a name="SECTION_XXXV" id="SECTION_XXXV"></a>SECTION XXXV</h2>
+
+<h3>HOW TO HOLD ONE'S SELF WHEN PRACTISING</h3>
+
+
+<p><span class="smcap">In</span> practising the singer should always stand, if possible, before a
+large mirror, in order to be able to watch himself closely. He should
+stand upright, quietly but not stiffly, and avoid everything that
+looks like restlessness. The hands should hang quietly, or rest
+lightly on something, without taking part in the interpretation of the
+expression. The first thing needed is to bring the body under control,
+that is, to remain quiet, so that later, in singing, the singer can do
+everything intentionally.</p>
+
+<p>The pupil must always stand in such a way that the teacher can watch
+his face, as well as his whole body. Continual movements of the
+fingers, hands, or feet are not permissible.<span class="pagenum"><a name="Page_257" id="Page_257">[Pg 257]</a></span></p>
+
+<p>The body must serve the singer's purposes freely and must acquire no
+bad habits. The singer's self-possession is reflected in a feeling of
+satisfaction on the part of the listener. The quieter the singer or
+artist, the more significant is every expression he gives; the fewer
+motions he makes, the more importance they have. So he can scarcely be
+quiet enough. Only there must be a certain accent of expression in
+this quietude, which cannot be represented by indifference. The
+quietude of the artist is a reassurance for the public, for it can
+come only from the certainty of power and the full command of his task
+through study and preparation and perfect knowledge of the work to be
+presented. An artist whose art is based on power cannot appear other
+than self-possessed and certain of himself. An evident uneasiness is
+always inartistic, and hence does not belong where art is to be
+embodied. All dependence upon tricks of habit creates nervousness and
+lack of flexibility.<span class="pagenum"><a name="Page_258" id="Page_258">[Pg 258]</a></span></p>
+
+<p>Therefore the singer must accustom himself to quietude in practising,
+and make his will master of his whole body, that later he may have
+free command of all his movements and means of expression.</p>
+
+<p>The constant playing of single tones or chords on the piano by the
+teacher during the lesson is wrong, and every pupil should request its
+discontinuance. The teacher can hear the pupil, but the latter cannot
+hear himself, when this is done; and yet it is of the utmost
+importance that he should learn to hear himself. I am almost driven
+distracted when teachers bring me their pupils, and drum on the piano
+as if possessed while they sing. Pupils have the same effect on me
+when they sit and play a dozen chords to one long note.</p>
+
+<p>Do they sit in the evening when they sing in a concert?</p>
+
+<p>Do they hear themselves, when they do this? Unfortunately, I cannot
+hear them.</p>
+
+<p>Poor pupils!<span class="pagenum"><a name="Page_259" id="Page_259">[Pg 259]</a></span></p>
+
+<p>It is enough for a musical person to strike a single note on the piano
+when he practises alone, or perhaps a common chord, after which the
+body and hands should return to their quiet natural position. Only in
+a standing posture can a free deep breath be drawn, and mind and body
+be properly prepared for the exercise or the song to follow.</p>
+
+<p>It is also well for pupils to form sentences with the proper number of
+syllables upon which to sing their exercises, so that even such
+exercises shall gradually gain a certain amount of expressiveness.
+Thus the exercises will form pictures which must be connected with the
+play of the features, as well as with an inner feeling, and thus will
+not become desultory and soulless and given over to indifference. Of
+course not till the mere tone itself is brought under complete
+control, and uncertainty is no longer possible, can the horizon of the
+pupil be thus widened without danger.</p>
+
+<p>Only when a scene requires that a vocal<span class="pagenum"><a name="Page_260" id="Page_260">[Pg 260]</a></span> passage be sung kneeling or
+sitting must the singer practise it in his room long before the
+performance and at all rehearsals, in accordance with dramatic
+requirements of the situation. <i>Otherwise the singer should always</i>
+STAND. We must also look out for unaccustomed garments that may be
+required on the stage, and rehearse in them; for instance, hat,
+helmet, hood, cloak, etc. Without becoming accustomed to them by
+practice, the singer may easily make himself ridiculous on the stage.
+Hence comes the absurdity of a Lohengrin who cannot sing with a
+helmet, another who cannot with a shield, a third who cannot with
+gauntlets; a Wanderer who cannot with the big hat, another who cannot
+with the spear, a Jose who cannot with the helmet, etc. All these
+things must be practised before a mirror until the requirements of a
+part or its costume become a habit. To attain this, the singer must be
+completely master of his body and all his movements.<span class="pagenum"><a name="Page_261" id="Page_261">[Pg 261]</a></span></p>
+
+<p>It must be precisely the same with the voice. The singer must be quite
+independent of bad habits in order consciously to exact from it what
+the proper interpretation of the work to be performed requires.</p>
+
+<p>He should practise only so long as can be done without weariness.
+After every exercise he should take a rest, to be fresh for the next
+one. After the great scale he should rest <i>at least</i> ten minutes; and
+these resting times must be observed as long as one sings.</p>
+
+<p>Long-continued exertion should not be exacted of the voice at first;
+even if the effects of it are not immediately felt, a damage is done
+in some way. In this matter pupils themselves are chiefly at fault,
+because they cannot get enough, as long as they take pleasure in it.</p>
+
+<p>For this reason it is insane folly to try to sing important r&#244;les on
+the stage after one or two years of study; it may perhaps be endured
+for one or two years without<span class="pagenum"><a name="Page_262" id="Page_262">[Pg 262]</a></span> evil results, but it can never be
+carried on indefinitely.</p>
+
+<p>Agents and managers commit a crime when they demand enormous exertions
+of such young singers. The rehearsals, which are held in abominably
+bad air, the late hours, the irregular life that is occasioned by
+rehearsals, the strain of standing around for five or six hours in a
+theatre,&#8212;all this is not for untrained young persons. No woman of
+less than twenty-four years should sing soubrette parts, none of less
+than twenty-eight years second parts, and none of less than
+thirty-five years dramatic parts; that is early enough. By that time
+proper preparation can be made, and in voice and person something can
+be offered worth while. And our fraternity must realize this sooner or
+later. In that way, too, they will learn more and be able to do more,
+and fewer sins will be committed against the art of song by the
+incompetent.</p>
+
+
+
+
+<hr style="width: 65%;" />
+<p><span class="pagenum"><a name="Page_263" id="Page_263">[Pg 263]</a></span></p>
+<h2><a name="SECTION_XXXVI" id="SECTION_XXXVI"></a>SECTION XXXVI</h2>
+
+<h3>CONCERNING EXPRESSION</h3>
+
+
+<p><span class="smcap">When</span> we wish to study a r&#244;le or a song, we have first to master the
+intellectual content of the work. Not till we have made ourselves a
+clear picture of the whole should we proceed to elaborate the details,
+through which, however, the impression of the whole should never be
+allowed to suffer. The complete picture should always shine out
+through all. If it is too much broken into details, it becomes a thing
+of shreds and patches.</p>
+
+<p>So petty accessories must be avoided, that the larger outline of the
+whole picture shall not suffer. The complete picture must ever claim
+the chief interest; details should not distract attention from it. In
+art, subordination of the parts to the whole is an art<span class="pagenum"><a name="Page_264" id="Page_264">[Pg 264]</a></span> of itself.
+Everything must be fitted to the larger lineaments that should
+characterize a masterpiece.</p>
+
+<p>A word is an idea; and not only the idea, but how that idea in color
+and connection is related to the whole, must be expressed. Therein is
+the fearsome magic that Wagner has exercised upon me and upon all
+others, that draws us to him and lets none escape its spell. That is
+why the elaboration of Wagner's creations seems so much worth while to
+the artist. Every elaboration of a work of art demands the sacrifice
+of some part of the artist's ego, for he must mingle the feelings set
+before him for portrayal with his own in his interpretation, and thus,
+so to speak, lay bare his very self. But since we must impersonate
+human beings, we may not spare ourselves, but throw ourselves into our
+task with the devotion of all our powers.</p>
+
+
+
+<hr style="width: 65%;" />
+<p><span class="pagenum"><a name="Page_265" id="Page_265">[Pg 265]</a></span></p>
+<h2><a name="SECTION_XXXVII" id="SECTION_XXXVII"></a>SECTION XXXVII</h2>
+
+<h3>BEFORE THE PUBLIC</h3>
+
+
+<p><span class="smcap">In</span> the wide reaches of the theatre it is needful to give an
+exaggeration to the expression, which in the concert hall, where the
+forms of society rule, must be entirely abandoned. And yet the picture
+must be presented by the artist to the public from the very first
+word, the very first note; the mood must be felt in advance. This
+depends partly upon the bearing of the singer and the expression of
+countenance he has during the prelude, whereby interest in what is
+coming is aroused and is directed upon the music as well as upon the
+poem.</p>
+
+<p>The picture is complete in itself; I have only to vivify its colors
+during the performance. Upon the management of the body, upon the
+electric current which should flow<span class="pagenum"><a name="Page_266" id="Page_266">[Pg 266]</a></span> between the artist and the
+public,&#8212;a current that often streams forth at his very appearance,
+but often is not to be established at all,&#8212;depend the glow and
+effectiveness of the color which we impress upon our picture.</p>
+
+<p>No artist should be beguiled by this into giving forth more than
+artistic propriety permits, either to enhance the enthusiasm or to
+intensify the mood; for the electric connection cannot be forced.
+Often a tranquillizing feeling is very soon manifest on both sides,
+the effect of which is quite as great, even though less stimulating.
+Often, too, a calm, still understanding between singer and public
+exercises a fascination upon both, that can only be attained through a
+complete devotion to the task in hand, and renunciation of any attempt
+to gain noisy applause.</p>
+
+<p>To me it is a matter of indifference whether the public goes frantic
+or listens quietly and reflectively, for I give out only what I have
+undertaken to. If I have put my individuality, my powers, my love for
+the work, into<span class="pagenum"><a name="Page_267" id="Page_267">[Pg 267]</a></span> a r&#244;le or a song that is applauded by the public, I
+decline all thanks for it to myself personally, and consider the
+applause as belonging to the master whose work I am interpreting. If I
+have succeeded in making him intelligible to the public, the reward
+therefor is contained in that fact itself, and I ask for nothing more.</p>
+
+<p>Of what is implied in the intelligent interpretation of a work of art,
+as to talent and study, the public has no conception. Only they can
+understand it whose lives have been devoted to the same ideals. The
+lasting understanding of such, or even of a part of the public, is
+worth more than all the storm of applause that is given to so many.</p>
+
+<p>All the applause in the world cannot repay me for the sacrifices I
+have made for art, and no applause in the world is able to beguile me
+from the dissatisfaction I feel over the failure of a single tone or
+attempted expression.</p>
+
+<p>What seems to me bad, because I demand the greatest things of myself,
+is, to be sure,<span class="pagenum"><a name="Page_268" id="Page_268">[Pg 268]</a></span> good enough for many others. I am, however, not of
+their opinion. In any matter relating to art, only the best is good
+enough for any public. If the public is uncultivated, one must make it
+know the best, must educate it, must teach it to understand the best.
+A na&#239;ve understanding is often most strongly exhibited by the
+uncultivated&#8212;that is, the unspoiled&#8212;public, and often is worth more
+than any cultivation. The cultivated public should be willing to
+accept only the best; it should ruthlessly condemn the bad and the
+mediocre.</p>
+
+<p>It is the artist's task, through offering his best and most carefully
+prepared achievements, to educate the public, to ennoble it; and he
+should carry out his mission without being influenced by bad standards
+of taste.</p>
+
+<p>The public, on the other hand, should consider art, not as a matter of
+fashion, or as an opportunity to display its clothes, but should feel
+it as a true and profound enjoyment, and do everything to second the
+artist's efforts.<span class="pagenum"><a name="Page_269" id="Page_269">[Pg 269]</a></span></p>
+
+<p>Arriving late at the opera or in the concert hall is a kind of bad
+manners which cannot be sufficiently censured. In the same way, going
+out before the end, at unfitting times, and the use of fans in such a
+way as to disturb artists and those sitting near, should be avoided by
+cultivated people. Artists who are concentrating their whole nature
+upon realizing an ideal, which they wish to interpret with the most
+perfect expression, should not be disturbed or disquieted.</p>
+
+<p>On the other hand, operatic performances, and concerts especially,
+should be limited in duration and in the number of pieces presented.
+It is better to offer the public a single symphony or a short list of
+songs or pianoforte pieces, which it can listen to with attention and
+really absorb, than to provide two or three hours of difficult music
+that neither the public can listen to with sufficient attention nor
+the artist perform with sufficient concentration.</p>
+
+
+
+<hr style="width: 65%;" />
+<p><span class="pagenum"><a name="Page_270" id="Page_270">[Pg 270]</a></span></p>
+<h2><a name="SECTION_XXXVIII" id="SECTION_XXXVIII"></a>SECTION XXXVIII</h2>
+
+<h3>INTERPRETATION</h3>
+
+
+<p><span class="smcap">Let</span> us return to the subject of Expression, and examine a song; for
+example,</p>
+
+<p><i>&quot;Der Nussbaum&quot; by Schumann.</i></p>
+
+<p>The prevailing mood through it is one of quiet gayety, consequently
+one demanding a pleasant expression of countenance. The song picture
+must rustle by us like a fairy story. The picture shows us the
+fragrant nut tree putting forth its leaves in the spring; under it a
+maiden lost in reverie, who finally falls asleep, happy in her
+thoughts. All is youth and fragrance, a charming little picture, whose
+colors must harmonize. None of them should stand out from the frame.
+Only one single word rises above the rustling of the tree, and this
+must be brought plainly to the hearing of the listening maiden<span class="pagenum"><a name="Page_271" id="Page_271">[Pg 271]</a></span>&#8212;and
+hence, also, of the public&#8212;the second &quot;<i>next</i>&quot; year. The whole song
+finds its point in that one word. The nut tree before the house puts
+forth its green leaves and sheds its fragrance; its blossoms are
+lovingly embraced by the soft breezes, whispering to each other two by
+two, and offer their heads to be kissed, nodding and bowing; the song
+must be sung with an equal fragrance, each musical phrase in one
+breath: that is, with six inaudible breathings, without ritenuto.</p>
+
+<p>They whisper of a maiden who night and day is thinking, she knows not
+of what herself. Between &quot;selber&quot; and &quot;nicht was&quot; a slight separation
+of the words can be made, by breaking off the <i>r</i> in &quot;selber&quot; nasally;
+and holding the tone nasally, without taking a fresh breath, attacking
+the &quot;nicht&quot; anew. In this way an expression of uncertainty is lent to
+the words &quot;nicht was.&quot;</p>
+
+<p>But now all becomes quite mysterious. &quot;They whisper, they
+whisper&quot;&#8212;one must bend one's thoughts to hear it; who can<span class="pagenum"><a name="Page_272" id="Page_272">[Pg 272]</a></span> understand
+so soft a song? But now I hear plainly, even though it be very
+soft&#8212;the whisper about the bridegroom and the next year, and again
+quite significantly, the <i>next</i> year. That is so full of promise, one
+can scarcely tear one's self away from the thoughts, from the word in
+which love is imparted, and yet that, too, comes to an end!</p>
+
+<p>Now I am the maiden herself who listens, smiling in happiness, to the
+rustling of the tree, leaning her head against its trunk, full of
+longing fancies as she sinks to sleep and to dream, from which she
+would wish never to awaken.</p>
+
+<p><i>&quot;Feldeinsamkeit&quot; by Brahms.</i></p>
+
+<p>This song interprets the exalted mood of the soul of the man who,
+lying at rest in the long grass, watches the clouds float by, and
+whose being is made one with nature as he does so. A whole world of
+insects buzzes about him, the air shimmers in the bright sunlight,
+flowers shed their perfume; everything about him lives a murmuring
+life in<span class="pagenum"><a name="Page_273" id="Page_273">[Pg 273]</a></span> tones that seem to enhance the peace of nature, far from the
+haunts of men.</p>
+
+<p>As tranquil as are the clouds that pass by, as peaceful as is the mood
+of nature, as luxurious as are the flowers that spread their
+fragrance, so tranquil and calm must be the breathing of the singer,
+which draws the long phrases of the song over the chords of the
+accompaniment, and brings before us in words and tones the picture of
+the warm peace of summer in nature, and the radiant being of a man
+dissolved within it.</p>
+
+<p>I mark the breathing places with <i>V</i>. &quot;Ich liege still im Nohen gr&#252;nen
+Gras <i>V</i> und sende lange meinen Blick <i>V</i> nach oben <i>V</i> [and again
+comfortably, calmly] nach oben.</p>
+
+<p>&quot;Von Grillen rings umschw&#228;rmt <i>V</i> ohn' Unterlass <i>V</i> von Himmelsbl&#228;ue
+wundersam umwoben <i>V</i> von Himmelsbl&#228;ue <i>V</i> <i>wundersam umwoben</i>.&quot;</p>
+
+<p>Each tone, each letter, is connected closely with the preceding and
+following; the expression of the eyes and of the soul should be<span class="pagenum"><a name="Page_274" id="Page_274">[Pg 274]</a></span>
+appropriate to that of the glorified peace of nature and of the soul's
+happiness. The last phrase should soar tenderly, saturated with a warm
+and soulful coloring.</p>
+
+<p>&quot;Die sch&#246;nen weissen Wolken zieh'n dahin <i>V</i> durch's <i>tiefe</i> Blau <i>V</i>,
+[I gaze at it for a moment] wie sch&#246;ne, stille Tr&#228;ume <i>V</i> [losing
+one's self] wie sch&#246;ne stille Tr&#228;ume. <i>V</i> [A feeling of dissolution
+takes away every thought of living and being.] Mir ist <i>V</i> als ob <i>V</i>
+ich l&#228;ngst <i>V</i> gestorben bin! [The whole being is dissolved in the
+ether; the end comes with outstretched wings soaring above the earth.]
+und ziehe selig mit <i>V</i> durch ew'ge R&#228;ume <i>V</i> und ziehe selig mit <i>V</i>
+durch ew'ge R&#228;ume. [Dissolution of the soul in the universe must sound
+forth from the singer's tone.]</p>
+
+<p><i>&quot;The Erlking,&quot; by Schubert.</i></p>
+
+<p>For him who is familiar with our native legends and tales, the willows
+and alders in the fields and by the brooks are peopled with hidden
+beings, fairies, and witches. They<span class="pagenum"><a name="Page_275" id="Page_275">[Pg 275]</a></span> stretch out ghostly arms, as their
+veils wave over their loose hair, they bow, cower, raise themselves,
+become as big as giants or as little as dwarfs. They seem to lie in
+wait for the weak, to fill them with fright.</p>
+
+<p>The father, however, who rides with his child through the night and
+the wind, is a man, no ghost; and his faithful steed, that carries
+both, no phantom. The picture is presented to us vividly; we can
+follow the group for long. The feeling is of haste, but not of
+ghostliness. The prelude should consequently sound simply fast, but
+not overdrawn. The first phrases of the singer should be connected
+with it as a plain narrative.</p>
+
+<p>Suddenly the child hugs the father more closely and buries his face in
+terror in his bosom. Lovingly the father bends over him; <i>quietly</i> he
+asks him the cause of his fear.</p>
+
+<p>Frightened, the child looks to one side, and asks, in disconnected
+phrases, whether his<span class="pagenum"><a name="Page_276" id="Page_276">[Pg 276]</a></span> father does not see the Erlking, the Erlking
+with his crown and train. They had just ridden by a clump of willows.
+Still quietly, the father explains <i>smilingly</i> to his son that what he
+saw was a bank of fog hanging over the meadow.</p>
+
+<p>But in the boy's brain the Erlking has already raised his enticing
+whisper.<a name="FNanchor_3_3" id="FNanchor_3_3"></a><a href="#Footnote_3_3" class="fnanchor">[3]</a> The still, small voice, as though coming from another
+world, promises the child golden raiment, flowers, and games.</p>
+
+<p>Fearfully he asks his father if he does not hear the Erlking's
+whispered promises.</p>
+
+<p>&quot;It is only the dry leaves rustling in the wind.&quot; The father quiets
+him, and his voice<span class="pagenum"><a name="Page_277" id="Page_277">[Pg 277]</a></span> is full of firm and loving reassurance, but he
+feels that his child is sick.</p>
+
+<p>For but a few seconds all is still; then the voice comes back again.
+In a low whisper sounds and words are distinguished. Erlking invites
+the boy to play with his daughters, who shall dance with him and rock
+him and sing to him.</p>
+
+<p>In the heat of fever the boy implores his father to look for the
+Erlking's daughters. The father sees only an old gray willow; but his
+voice is no longer calm. Anxiety for his sick child makes his manly
+tones break; the comforting words contain already a longing for the
+journey's end&#8212;quickly, quickly, must he reach it.</p>
+
+<p>Erlking has now completely filled the feverish fancy of the child.
+With ruthless power he possesses himself of the boy&#8212;all opposition is
+vain&#8212;the silver cord is loosened. Once more he cries out in fear to
+his father, then his eyes are closed. The man, beside himself, strains
+every nerve&#8212;his own<span class="pagenum"><a name="Page_278" id="Page_278">[Pg 278]</a></span> and his horse's; his haste is like a wild
+flight. The journey's end is reached; breathless they stop&#8212;but the
+race was in vain.</p>
+
+<p>A cold shudder runs through even the narrator; his whole being is
+strained and tense, he must force his mouth to utter the last words.</p>
+
+
+
+<hr style="width: 65%;" />
+<p><span class="pagenum"><a name="Page_279" id="Page_279">[Pg 279]</a></span></p>
+<h2><a name="SECTION_XXXIX" id="SECTION_XXXIX"></a>SECTION XXXIX</h2>
+
+<h3>IN CONCLUSION</h3>
+
+
+<p><span class="smcap">The</span> class of voice is dependent upon the inborn characteristics of the
+vocal organs. But the development of the voice and all else that
+appertains to the art of song, can, providing talent is not lacking,
+be learned through industry and energy.</p>
+
+<p>If every singer cannot become a <i>famous</i> artist, every singer is at
+least in duty bound to have learned something worth while, and to do
+his best according to his powers, as soon as he has to appear before
+any public. As an artist, he should not afford this public merely a
+cheap amusement, but should acquaint it with the most perfect
+embodiments of that art whose sole task properly is to ennoble the
+taste of mankind, and to bestow happiness; to raise it above the
+miseries of<span class="pagenum"><a name="Page_280" id="Page_280">[Pg 280]</a></span> this workaday world, withdraw it from them, to idealize
+even the hateful things in human nature which it may have to
+represent, without departing from truth.</p>
+
+<p>But what is the attitude of artists toward these tasks?</p>
+
+<p><span class="smcap">Cleveland</span>, January 11, 1902.</p>
+
+
+
+<hr style="width: 65%;" />
+<p><span class="pagenum"><a name="Page_281" id="Page_281">[Pg 281]</a></span></p>
+<h3><a name="NOTE" id="NOTE"></a>NOTE</h3>
+
+<h3><i>A Good Remedy for Catarrh and Hoarseness</i></h3>
+
+
+<p>Pour boiling hot water into a saucer, and let a large sponge suck it
+all up. Then squeeze it firmly out again. Hold the sponge to the nose
+and mouth, and breathe alternately through the nose and mouth, in and
+out.</p>
+
+<p>I sing my exercises, the great scale, passages, etc., and all the
+vowels into it, and so force the hot steam to act upon the lungs,
+bronchial tubes, and especially on the mucous membranes, while I am
+breathing in and out through the sponge. After this has been kept up
+for ten or fifteen minutes, wash the face in cold water. This can be
+repeated four to six times a day. The sponge should not be full of
+water, but must be quite squeezed out. This has helped me greatly, and
+I can recommend it highly. It can do no injury because it is natural.
+But after breathing in the hot steam, do not go out immediately into
+the cold air.</p>
+
+<hr style="width: 65%;" />
+
+<div class="footnotes"><h3>FOOTNOTES</h3>
+
+<div class="footnote"><p><a name="Footnote_1_1" id="Footnote_1_1"></a><a href="#FNanchor_1_1"><span class="label">[1]</span></a> In physiology when the muscles resume their normal state,
+they are said to be <i>relaxed</i>. But as I wish to avoid giving a false
+conception in our vocal sensations, I prefer to use the word
+&quot;loosening.&quot;</p></div>
+
+<div class="footnote"><p><a name="Footnote_2_2" id="Footnote_2_2"></a><a href="#FNanchor_2_2"><span class="label">[2]</span></a> &quot;Fortpflanzungsform&quot;: the preparation made in the vocal
+organs for taking the next tone before leaving the one under
+production, so that the succeeding tones shall all be of like
+character and quality.</p></div>
+
+<div class="footnote"><p><a name="Footnote_3_3" id="Footnote_3_3"></a><a href="#FNanchor_3_3"><span class="label">[3]</span></a> The voice of the Erlking is a continuous, soft,
+uninterrupted stream of tone, upon which the whispered words are hung.
+The Erlking excites the thoughts of the fever-sick boy. The three
+enticements must be sung very rapidly, without any interruption of the
+breath. The first I sing as far as possible in one breath (if I am not
+hampered by the accompanist), or at most in two; the second in two,
+the third in three; and here for the first time the words &quot;reizt&quot; and
+&quot;branch ich Gewalt&quot; emerge from the whispered pianissimo.</p></div>
+
+</div>
+
+
+
+
+
+
+
+<pre>
+
+
+
+
+
+End of the Project Gutenberg EBook of How to Sing, by Lilli Lehmann
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+</body>
+</html>
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+The Project Gutenberg EBook of How to Sing, by Lilli Lehmann
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: How to Sing
+       [Meine Gesangskunst]
+
+Author: Lilli Lehmann
+
+Translator: Richard Aldrich
+
+Release Date: August 25, 2006 [EBook #19116]
+
+Language: English
+
+Character set encoding: ASCII
+
+*** START OF THIS PROJECT GUTENBERG EBOOK HOW TO SING ***
+
+
+
+
+Produced by David Newman, Linda Cantoni, and the Online
+Distributed Proofreading Team at http://www.pgdp.net
+
+
+
+
+
+
+
+
+
+HOW TO SING
+
+[MEINE GESANGSKUNST]
+
+
+BY
+
+LILLI LEHMANN
+
+
+[Illustration: MADAME LILLI LEHMANN.]
+
+
+TRANSLATED FROM THE GERMAN
+
+BY
+
+RICHARD ALDRICH
+
+New York
+THE MACMILLAN COMPANY
+LONDON: MACMILLAN & CO., LTD.
+1902
+
+_All rights reserved_
+
+COPYRIGHT, 1902,
+BY THE MACMILLAN COMPANY.
+
+Set up and electrotyped November, 1902.
+
+Norwood Press
+J.S. Cushing & Co.--Berwick & Smith
+Norwood Mass. U.S.A.
+
+
+[Transcriber's Note: In this e-text, characters with macrons are
+preceded by an equal sign and enclosed in brackets, e.g., [=a].
+Characters with breves are preceded by a right parenthesis and
+enclosed in brackets, e.g., [)e]. Superscripted characters are
+preceded by a carat, e.g., Gretel^e.]
+
+
+
+
+CONTENTS
+
+
+                                                                  PAGE
+
+MY PURPOSE                                                           1
+
+MY TITLE TO WRITE ON THE ART OF SONG                                 5
+
+
+SECTION I
+
+PRELIMINARY PRACTICE                                                11
+
+
+SECTION II
+
+OF THE BREATH                                                       19
+
+
+SECTION III
+
+OF THE BREATH AND WHIRLING CURRENTS                                 27
+
+
+SECTION IV
+
+THE SINGER'S PHYSIOLOGICAL STUDIES                                  35
+
+
+SECTION V
+
+EQUALIZING THE VOICE; BREATH; FORM                                  45
+
+
+SECTION VI
+
+THE ATTACK                                                          69
+
+
+SECTION VII
+
+NASAL. NASAL SINGING                                                73
+
+
+SECTION VIII
+
+SINGING TOWARD THE NOSE. HEAD VOICE                                 78
+
+
+SECTION IX
+
+THE HEAD VOICE                                                      86
+
+
+SECTION X
+
+SENSATION AND POSITION OF THE TONGUE                                99
+
+
+SECTION XI
+
+THE SENSATIONS OF THE PALATE                                       102
+
+
+SECTION XII
+
+THE SENSATION OF THE RESONANCE OF THE HEAD CAVITIES                108
+
+
+SECTION XIII
+
+SINGING COVERED                                                    123
+
+
+SECTION XIV
+
+ON VOCAL REGISTERS                                                 133
+
+
+SECTION XV
+
+DEVELOPMENT AND EQUALIZATION                                       142
+
+
+SECTION XVI
+
+WHITE VOICES                                                       154
+
+
+SECTION XVII
+
+THEODOR WACHTEL                                                    158
+
+
+SECTION XVIII
+
+THE HIGHEST HEAD TONES                                             162
+
+
+SECTION XIX
+
+EXTENSION OF THE COMPASS AND EQUALIZATION OF REGISTERS             169
+
+
+SECTION XX
+
+THE TREMOLO                                                        170
+
+
+SECTION XXI
+
+THE CURE                                                           176
+
+
+SECTION XXII
+
+THE TONGUE                                                         181
+
+
+SECTION XXIII
+
+PREPARATION FOR SINGING                                            189
+
+
+SECTION XXIV
+
+THE POSITION OF THE MOUTH (CONTRACTION OF THE MUSCLES OF SPEECH)   192
+
+
+SECTION XXV
+
+CONNECTION OF VOWELS                                               196
+
+
+SECTION XXVI
+
+THE LIPS                                                           212
+
+
+SECTION XXVII
+
+THE VOWEL SOUND _AH_                                               214
+
+
+SECTION XXVIII
+
+ITALIAN AND GERMAN                                                 219
+
+
+SECTION XXIX
+
+AUXILIARY VOWELS                                                   226
+
+
+SECTION XXX
+
+RESONANT CONSONANTS                                                229
+
+
+SECTION XXXI
+
+PRACTICAL EXERCISES                                                232
+
+
+SECTION XXXII
+
+THE GREAT SCALE                                                    239
+
+
+SECTION XXXIII
+
+VELOCITY                                                           245
+
+
+SECTION XXXIV
+
+TRILL                                                              251
+
+
+SECTION XXXV
+
+HOW TO HOLD ONE'S SELF WHEN PRACTISING                             256
+
+
+SECTION XXXVI
+
+CONCERNING EXPRESSION                                              263
+
+
+SECTION XXXVII
+
+BEFORE THE PUBLIC                                                  265
+
+
+SECTION XXXVIII
+
+INTERPRETATION                                                     270
+
+
+SECTION XXXIX
+
+IN CONCLUSION                                                      279
+
+
+NOTE.--A GOOD REMEDY FOR CATARRH AND HOARSENESS                    281
+
+
+
+
+MY PURPOSE
+
+
+My purpose is to discuss simply, intelligibly, yet from a scientific
+point of view, the sensations known to us in singing, and exactly
+ascertained in my experience, by the expressions "singing open,"
+"covered," "dark," "nasal," "in the head," or "in the neck,"
+"forward," or "back." These expressions correspond to our sensations
+in singing; but they are unintelligible as long as the causes of those
+sensations are unknown, and everybody has a different idea of them.
+Many singers try their whole lives long to produce them and never
+succeed. This happens because science understands too little of
+singing, the singer too little of science. I mean that the
+physiological explanations of the highly complicated processes of
+singing are not plainly enough put for the singer, who has to concern
+himself chiefly with his sensations in singing and guide himself by
+them. Scientific men are not at all agreed as to the exact functions
+of the several organs; the humblest singer knows something about them.
+Every serious artist has a sincere desire to help others reach the
+goal--the goal toward which all singers are striving: to sing well and
+beautifully.
+
+The true art of song has always been possessed and will always be
+possessed by such individuals as are dowered by nature with all that
+is needful for it--that is, healthy vocal organs, uninjured by vicious
+habits of speech; a good ear, a talent for singing, intelligence,
+industry, and energy.
+
+In former times eight years were devoted to the study of singing--at
+the Prague Conservatory, for instance. Most of the mistakes and
+misunderstandings of the pupil could be discovered before he secured
+an engagement, and the teacher could spend so much time in correcting
+them that the pupil learned to pass judgment on himself properly.
+
+But art to-day must be pursued like everything else, by steam. Artists
+are turned out in factories, that is, in so-called conservatories, or
+by teachers who give lessons ten or twelve hours a day. In two years
+they receive a certificate of competence, or at least the diploma of
+the factory. The latter, especially, I consider a crime, that the
+state should prohibit.
+
+All the inflexibility and unskilfulness, mistakes and deficiencies,
+which were formerly disclosed during a long course of study, do not
+appear now, under the factory system, until the student's public
+career has begun. There can be no question of correcting them, for
+there is no time, no teacher, no critic; and the executant has learned
+nothing, absolutely nothing, whereby he could undertake to distinguish
+or correct them.
+
+The incompetence and lack of talent whitewashed over by the factory
+concern lose only too soon their plausible brilliancy. A failure in
+life is generally the sad end of such a factory product; and to
+factory methods the whole art of song is more and more given over as a
+sacrifice.
+
+I cannot stand by and see these things with indifference. My artistic
+conscience urges me to disclose all that I have learned and that has
+become clear to me in the course of my career, for the benefit of art;
+and to give up my "secrets," which seem to be secrets only because
+students so rarely pursue the path of proper study to its end. If
+artists, often such only in name, come to a realization of their
+deficiencies, they lack only too frequently the courage to acknowledge
+them to others. Not until we artists all reach the point when we can
+take counsel with each other about our mistakes and deficiencies, and
+discuss the means for overcoming them, putting our pride in our
+pockets, will bad singing and inartistic effort be checked, and our
+noble art of singing come into its rights again.
+
+
+MY TITLE TO WRITE ON THE ART OF SONG
+
+Rarely are so many desirable and necessary antecedents united as in my
+case.
+
+The child of two singers, my mother being gifted musically quite out
+of the common, and active for many years not only as a dramatic
+singer, but also as a harp virtuoso, I, with my sister Marie, received
+a very careful musical education; and later a notable course of
+instruction in singing from her. From my fifth year on I listened
+daily to singing lessons; from my ninth year I played accompaniments
+on the pianoforte, sang all the missing parts, in French, Italian,
+German, and Bohemian; got thoroughly familiar with all the operas, and
+very soon knew how to tell good singing from bad. Our mother took
+care, too, that we should hear all the visiting notabilities of that
+time in opera as well as in concert; and there were many of them every
+year at the Deutsches Landestheater in Prague.
+
+She herself had found a remarkable singing teacher in the Frankfort
+basso, Foeppel; and kept her voice noble, beautiful, young, and strong
+to the end of her life,--that is, till her seventy-seventh
+year,--notwithstanding enormous demands upon it and many a blow of
+fate. She could diagnose a voice infallibly; but required a probation
+of three to four months to test talent and power of making progress.
+
+I have been on the stage since my eighteenth year; that is, for
+thirty-four years. In Prague I took part every day in operas,
+operettas, plays, and farces. Thereafter in Danzig I sang from
+eighteen to twenty times a month in coloratura and soubrette parts;
+also in Leipzig, and later, fifteen years in Berlin. In addition I
+sang in very many oratorios and concerts, and gave lessons now and
+then.
+
+As long as my mother lived she was my severest critic, never
+satisfied. Finally I became such for myself. Now fifteen years more
+have passed, of which I spent eight very exacting ones as a dramatic
+singer in America, afterward fulfilling engagements as a star, in all
+languages, in Germany, Austria, Hungary, France, England, and Sweden.
+My study of singing, nevertheless, was not relaxed. I kept it up more
+and more zealously by myself, learned something from everybody,
+learned to _hear_ myself and others.
+
+For many years I have been devoting myself to the important questions
+relating to singing, and believe that I have finally found what I have
+been seeking. It has been my endeavor to set down as clearly as
+possible all that I have learned through zealous, conscientious study
+by myself and with others, and thereby to offer to my colleagues
+something that will bring order into the chaos of their methods of
+singing; something based on science as well as on sensations in
+singing; something that will bring expressions often misunderstood
+into clear relation with the exact functions of the vocal organs.
+
+In what I have just said I wish to give a sketch of my career only to
+show what my voice has endured, and why, notwithstanding the enormous
+demands I have made upon it, it has lasted so well. One who has sung
+for a short time, and then has lost his voice, and for this reason
+becomes a singing teacher, has never sung consciously; it has simply
+been an accident, and this accident will be repeated, for good or for
+ill, in his pupils.
+
+The talent in which all the requirements of an artist are united is
+very rare. Real talent will get along, even with an inferior teacher,
+in some way or another; while the best teacher cannot produce talent
+where there is none. Such a teacher, however, will not beguile people
+with promises that cannot be kept.
+
+My chief attention I devote to artists, whom I can, perhaps, assist in
+their difficult, but glorious, profession. One is never done with
+learning; and that is especially true of singers. I earnestly hope
+that I may leave them something, in my researches, experiences, and
+studies, that will be of use. I regard it as my duty; and I confide it
+to all who are striving earnestly for improvement.
+
+GRUeNEWALD, Oct. 31, 1900.
+
+
+
+
+SECTION I
+
+PRELIMINARY PRACTICE
+
+
+It is very important for all who wish to become artists to begin their
+work not with practical exercises in singing, but with serious
+practice in tone production, in breathing in and out, in the functions
+of the lungs and palate, in clear pronunciation of all letters, and
+with speech in general.
+
+Then it would soon be easy to recognize talent or the lack of it. Many
+would open their eyes in wonder over the difficulties of learning to
+sing, and the proletariat of singers would gradually disappear. With
+them would go the singing conservatories and the bad teachers who, for
+a living, teach everybody that comes, and promise to make everybody a
+great artist.
+
+Once when I was acting as substitute for a teacher in a conservatory,
+the best pupils of the institution were promised me,--those who needed
+only the finishing touches. But when, after my first lesson, I went to
+the director and complained of the ignorance of the pupils, my mouth
+was closed with these words, "For Heaven's sake, don't say such
+things, or we could never keep our conservatory going!"
+
+I had enough, and went.
+
+The best way is for pupils to learn preparatory books by heart, and
+make drawings. In this way they will get the best idea of the vocal
+organs, and learn their functions by sensation as soon as they begin
+to sing. The pupil should be subjected to strict examinations.
+
+_In what does artistic singing differ from natural singing?_
+
+In a clear understanding of all the organs concerned in voice
+production, and their functions, singly and together; in the
+understanding of the sensations in singing, conscientiously studied
+and scientifically explained; in a gradually cultivated power of
+contracting and relaxing the muscles of the vocal organs, that power
+culminating in the ability to submit them to severe exertions and keep
+them under control. The prescribed tasks must be mastered so that they
+can be done without exertion, with the whole heart and soul, and with
+complete understanding.
+
+How is this to be attained?
+
+Through natural gifts, among which I reckon the possession of sound
+organs and a well-favored body; through study guided by an excellent
+teacher _who can sing well himself_,--study that must be kept up for
+at least six years, without counting the preliminary work.
+
+Only singers formed on such a basis, after years of work, deserve the
+title of artist; only such have a right to look forward to a lasting
+future, and only those equipped with such a knowledge ought to teach.
+
+_Of what consists artistic singing?_
+
+Of a clear understanding, first and foremost, of breathing, in and
+out; of an understanding of the form through which the breath has to
+flow, prepared by a proper position of the larynx, the tongue, and the
+palate. Of a knowledge and understanding of the functions of the
+muscles of the abdomen and diaphragm, which regulate the breath
+pressure; then, of the chest-muscle tension, against which the breath
+is forced, and whence, under the control of the singer, after passing
+through the vocal cords, it beats against the resonating surfaces and
+vibrates in the cavities of the head. Of a highly cultivated skill and
+flexibility in adjusting all the vocal organs and in putting them into
+minutely graduated movements, without inducing changes through the
+pronunciation of words or the execution of musical figures that shall
+be injurious to the tonal beauty or the artistic expression of the
+song. Of an immense muscular power in the breathing apparatus and all
+the vocal organs, the strengthening of which to endure sustained
+exertion cannot be begun too long in advance; and the exercising of
+which, as long as one sings in public, must never be remitted for a
+single day.
+
+As beauty and stability of tone do not depend upon excessive
+_pressure_ of the breath, so the muscular power of the organs used in
+singing does not depend on convulsive rigidity, but in that snakelike
+power of contracting and loosening,[1] which a singer must consciously
+have under perfect control.
+
+[Footnote 1: In physiology when the muscles resume their normal state,
+they are said to be _relaxed_. But as I wish to avoid giving a false
+conception in our vocal sensations, I prefer to use the word
+"loosening."]
+
+The study needed for this occupies an entire lifetime; not only
+because the singer must perfect himself more and more in the roles of
+his repertory--even after he has been performing them year in and year
+out,--but because he must continually strive for progress, setting
+himself tasks that require greater and greater mastery and strength,
+and thereby demand fresh study.
+
+_He who stands still, goes backward._
+
+Nevertheless, there are fortunately gifted geniuses in whom are
+already united all the qualities needed to attain greatness and
+perfection, and whose circumstances in life are equally fortunate; who
+can reach the goal earlier, without devoting their whole lives to it.
+Thus, for instance, in Adelina Patti everything was united,--the
+splendid voice, paired with great talent for singing, and the long
+oversight of her studies by her distinguished teacher, Strakosch. She
+never sang roles that did not suit her voice; in her earlier years she
+sang only arias and duets or single solos, never taking part in
+ensembles. She never sang even her limited repertory when she was
+indisposed. She never attended rehearsals, but came to the theatre in
+the evening and sang triumphantly, without ever having seen the
+persons who sang and acted with her. She spared herself rehearsals
+which, on the day of the performance, or the day before, exhaust all
+singers, because of the excitement of all kinds attending them, and
+which contribute neither to the freshness of the voice nor to the joy
+of the profession.
+
+Although she was a Spaniard by birth and an American by early
+adoption, she was, so to speak, the greatest Italian singer of my
+time. All was absolutely good, correct, and flawless, the voice like a
+bell that you seemed to hear long after its singing had ceased.
+
+Yet she could give no explanation of her art, and answered all her
+colleagues' questions concerning it with an "Ah, je n'en sais rien!"
+
+She possessed, unconsciously, as a gift of nature, a union of all
+those qualities that all other singers must attain and possess
+_consciously_. Her vocal organs stood in the most favorable relations
+to each other. Her talent, and her remarkably trained ear, maintained
+control over the beauty of her singing and of her voice. The fortunate
+circumstances of her life preserved her from all injury. The purity
+and flawlessness of her tone, the beautiful equalization of her whole
+voice, constituted the magic by which she held her listeners
+entranced. Moreover, she was beautiful and gracious in appearance.
+
+The accent of great dramatic power she did not possess; yet I ascribe
+this more to her intellectual indolence than to her lack of ability.
+
+
+
+
+SECTION II
+
+OF THE BREATH
+
+
+The breath becomes voice through the operation of the will, and the
+instrumentality of the vocal organs.
+
+To regulate the breath, to prepare a passage of the proper form
+through which it shall flow, circulate, develop itself, and reach the
+necessary resonating chambers, must be our chief task.
+
+Concerning the breath and much more besides there is so much that is
+excellent in Oscar Guttmann's "Gymnastik der Stimme" that I can do no
+better than to refer to it and recommend it strongly to the attention
+of all earnest students.
+
+How do I breathe?
+
+Very short of breath by nature, my mother had to keep me as a little
+child almost sitting upright in bed. After I had outgrown that and as
+a big girl could run around and play well enough, I still had much
+trouble with shortness of breath in the beginning of my singing
+lessons. For years I practised breathing exercises every day without
+singing, and still do so with especial pleasure, now that everything
+that relates to the breath and the voice has become clear to me. Soon
+I had got so far that I could hold a swelling and diminishing tone
+from fifteen to eighteen seconds.
+
+I had learned this: to draw in the abdomen and diaphragm, raise the
+chest and hold the breath in it by the aid of the ribs; in letting out
+the breath _gradually_ to relax the body and to let the chest fall
+slowly. To do everything _thoroughly_ I doubtless exaggerated it all.
+But since for twenty-five years I have breathed in this way almost
+exclusively, with the utmost care, I have naturally attained great
+dexterity in it; and my abdominal and chest muscles and my diaphragm,
+have been strengthened to a remarkable degree. Yet I was not
+satisfied.
+
+A horn player in Berlin with the power of holding a very long breath,
+once told me in answer to a question, that he drew in his abdomen and
+diaphragm very strongly, but immediately relaxed his abdomen again as
+soon as he began to play. I tried the same thing with the _best
+results_. Quite different, and very naive, was the answer I once got
+from three German orchestral horn players in America. They looked at
+me in entire bewilderment, and appeared not to understand in the least
+my questions as to how they breathed. Two of them declared that the
+best way was not to think about it at all. But when I asked if their
+teachers had never told them how they should breathe, the third
+answered, after some reflection, "Oh, yes!" and pointed in a general
+way to his stomach. The first two were right, in so far as too violent
+inhalation of breath is really undesirable, because thereby _too much_
+air is drawn in. But such ignorance of the subject is disheartening,
+and speaks ill for the conservatories in which the players were
+trained, whose performances naturally are likely to give art a black
+eye.
+
+Undoubtedly I took in too much air in breathing, and thereby stiffened
+various organs, depriving my muscles of their elasticity. Yet, with
+all my care and preparation, I often, when I had not given special
+thought to it, had too little breath, rather than too much. I felt,
+too, after excessive inhalation, as if I must emit a certain amount of
+air before I began to sing. Finally I abandoned all superfluous
+drawing in of the abdomen and diaphragm, inhaled but little, and began
+to pay special attention to emitting the smallest possible amount of
+breath, which I found very serviceable.
+
+How do I breathe now?
+
+My diaphragm I scarcely draw in consciously, my abdomen never; I feel
+the breath fill my lungs, and my upper ribs expand. Without raising
+my chest especially high, I force the breath against it, and hold it
+fast there. At the same time I raise my palate high and prevent the
+escape of breath through the nose. The diaphragm beneath reacts
+against it, and furnishes pressure from the abdomen. Chest, diaphragm,
+the closed epiglottis, and the raised palate all form a supply chamber
+for the breath.
+
+Only in this way is the breath under the control of the singer,
+through the pressure against the chest tension muscles. (_This is very
+important._) From now on the breath must be emitted from the supply
+chamber very sparingly, but with unceasing uniformity and strength,
+without once being held back, to the vocal cords, which will further
+regulate it as far as possible. The more directly the breath pressure
+is exerted against the chest,--one has the feeling, in this, of
+singing the tone against the chest whence it must be _pressed_
+out,--the less breath flows through the vocal cords, and the less,
+consequently, are these overburdened.
+
+In this way, under control, in the passage formed for it above the
+tongue by that organ, it reaches the resonance chambers prepared for
+it by the raising and lowering of the soft palate, and those in the
+cavities of the head. Here it forms whirling currents of tone; these
+now must circulate uninterrupted for as long as possible and fill all
+the accessible resonating surfaces, which must be maintained in an
+elastic state. This is necessary to bring the tone to its perfect
+purity. Not till these currents have been sufficiently used up and
+passed through the "bell," or cup-shaped resonating cavity, of the
+mouth and lips, may it be allowed to stream from the mouth unimpeded.
+Yet the _sensation_ must be as if the breath were constantly escaping
+from the mouth.
+
+To observe and keep under control these many functions, singly or in
+conjunction, forms the ceaseless delight of the never failing fountain
+of song study.
+
+Thus, in shaping the passage for the breath, the larynx, tongue, and
+palate, which can be placed at will, are employed. The vocal cords,
+which can best be imagined as inner lips, we have under control
+neither as beginners nor as artists. _We do not feel them._ We first
+become conscious of them through the controlling apparatus of the
+breath, which teaches us to _spare_ them, by emitting breath through
+them in the least possible quantity and of even pressure, whereby a
+steady tone can be produced. I even maintain that all is won, when--as
+Victor Maurel says--we regard them directly as the breath regulators,
+and relieve them of all overwork through the controlling apparatus of
+the chest-muscle tension.
+
+Through the form prepared by the larynx, tongue, and palate, we can
+direct the breath, previously under control and regulation, toward the
+particular resonating surfaces on the palate, or in the cavities of
+the head, which are suitable to each tone. This rule remains the same
+for all voices.
+
+As soon as the breath leaves the larynx, it is divided. (Previously,
+in inhalation, a similar thing happens; but this does not concern us
+immediately, and I prefer to direct the singer's chief attention to
+the second occurrence.) One part may press toward the palate, the
+other toward the cavities of the head. The division of the breath
+occurs regularly, from the deepest bass to the highest tenor or
+soprano, step for step, vibration for vibration, without regard to sex
+or individuality. Only the differing size or strength of the vocal
+organs through which the breath flows, the breathing apparatus, or the
+skill with which they are used, are different in different
+individuals. The seat of the breath, the law of its division, as well
+as the resonating surfaces, are always the same and are differentiated
+at most through difference of habit.
+
+
+
+
+SECTION III
+
+OF THE BREATH AND WHIRLING CURRENTS
+
+(SINGING FORWARD)
+
+
+The veriest beginner knows that in order to use the breath to the
+fullest advantage, it must remain very long diffused back in the
+mouth. A mistaken idea of "singing forward" misleads most to _press_
+it forward and thus allow it to be speedily dissipated.
+
+The column of breath coming in an uninterrupted stream from the
+larynx, must, as soon as it flows into the form prepared for it
+according to the required tone, by the tongue and palate, fill this
+form, soaring through all its corners, with its vibrations. It makes
+whirling currents, which circulate in the elastic form surrounding it,
+and it must remain there till the tone is high enough, strong enough,
+and sustained enough to satisfy the judgment of the singer as well as
+the ear of the listener. Should there be lacking the least element of
+pitch, strength, or duration, the tone is imperfect and does not meet
+the requirement.
+
+Learning and teaching to hear is the first task of both pupil and
+teacher. One is impossible without the other. It is the most difficult
+as well as the most grateful task, and it is the only way to reach
+perfection.
+
+Even if the pupil unconsciously should produce a flawless tone, it is
+the teacher's duty to acquaint him clearly with the _causes_ of it. It
+is not enough to sing well; one must also know how one does it. The
+teacher must tell the pupil constantly, making him describe clearly
+his sensations in singing, and understand fully the physiological
+factors that cooeperate to produce them.
+
+The sensations in singing must coincide with mine as here described,
+if they are to be considered as correct; for mine are based logically
+on physiological causes and correspond precisely with the operation of
+these causes. Moreover, all my pupils tell me--often, to be sure, not
+till many months have passed--how exact my explanations are; how
+accurately, on the strength of them, they have learned to feel the
+physiological processes. They have learned, slowly, to be sure, to
+become conscious of their errors and false impressions; for it is very
+difficult to ascertain such mistakes and false adjustments of the
+organs. False sensations in singing and disregarded or false ideas of
+physiological processes cannot immediately be stamped out. A long time
+is needed for the mind to be able to form a clear image of those
+processes, and not till then can knowledge and improvement be
+expected. The teacher must repeatedly explain the physiological
+processes, the pupil repeatedly disclose every confusion and
+uncertainty he feels, until the perfect consciousness of his
+sensations in singing is irrevocably impressed upon his memory, that
+is, has become a habit.
+
+Among a hundred singers hardly one can be found whose single tones
+meet every requirement. And among a thousand listeners, even among
+teachers, and among artists, hardly one hears it.
+
+I admit that such perfect tones sometimes, generally quite
+unconsciously, are heard from young singers, and especially from
+beginners, and never fail to make an impression. The teacher hears
+that they are good, so does the public. Only a very few know why, even
+among singers, because only a very few know the laws governing perfect
+tone production. Their talent, their ear perchance, tell them the
+truth; but the causes they neither know nor look for.
+
+On such "unconscious singing" directors, managers, and even
+conductors, build mistakenly their greatest hopes. No one hears what
+is lacking, or what will soon be lacking, and all are surprised when
+experienced singers protest against it.
+
+They become enthusiastic, properly, over beautiful voices, but pursue
+quite the wrong path in training them for greater tasks. As soon as
+such persons are obtained, they are immediately bundled into _all_
+roles; they have hardly time to learn one role by heart, to say
+nothing of comprehending it and working it up artistically. The stars
+must shine _immediately_! But with what resources? With the fresh
+voice alone? Who is there to teach them to use their resources on the
+stage? Who to husband them for the future? The manager? the director?
+Not at all. When the day comes that they can no longer perform what,
+not they themselves, but the directors, expected of them, they are put
+to one side, and if they do not possess great energy and strength,
+often entirely succumb. They could not meet the demands made upon
+them, because they did not know how to use their resources.
+
+I shall be told that tones well sung, even unconsciously, are enough.
+But that is not true. The least unfavorable circumstance,
+over-exertion, indisposition, an unaccustomed situation, anything can
+blow out the "unconscious" one's light, or at least make it flicker
+badly. Of any self-help, when there is ignorance of all the
+fundamentals, there can be no question. Any help is grasped at. Then
+appears the so-called (but false) "individuality," under whose mask so
+much that is bad presents itself to art and before the public.
+
+This is not remarkable, in view of the complexity of the phenomena of
+song. Few teachers concern themselves with the fundamental studies;
+they often do not sing at all themselves, or they sing quite wrongly;
+and consequently can neither describe the vocal sensations nor test
+them in others. Theory alone is of no value whatever. With old singers
+the case is often quite the contrary--so both seize whatever help they
+can lay hold of. The breath, that vibrates against the soft palate,
+when it is raised, or behind it in the cavities of the head, produces
+whirling currents through its continuous streaming forth and its
+twofold division. These currents can circulate only in unbroken
+completeness of form. The longer their form remains unimpaired, and
+the more economically the continuous breath pressure is maintained,
+the less breath do these currents need, the less is emitted unused
+from the mouth.
+
+If an elastic form is found in the mouth in which the currents can
+circulate untouched by any pressure or undue contraction or expansion
+of it, the breath becomes practically unlimited. That is the simple
+solution of the paradox that without deep breathing one may often have
+much breath, and, after elaborate preparations, often none at all;
+because the chief attention is generally directed to inhalation,
+instead of to the elastic forming of the organs for the breath, sound
+currents, and tone. The one thing needed is the knowledge of the
+causes, and the necessary skill in preparing the form, avoiding all
+pressure that could injure it, whether originating in the larynx,
+tongue, or palate, or in the organs that furnish the breath pressure.
+
+The singer's endeavors, consequently, must be directed to keeping the
+breath as long as possible sounding and vibrating not only forward but
+back in the mouth, since the resonance of the tone is spread upon and
+above the entire palate, extends from the front teeth to the wall of
+the throat. He must concern himself with preparing for the vibrations,
+pliantly and with mobility, a powerful, elastic, almost floating
+envelope, which must be filled entirely, with the help of a continuous
+vocal mixture,--a mixture of which the components are indistinguishable.
+
+
+
+
+SECTION IV
+
+THE SINGER'S PHYSIOLOGICAL STUDIES
+
+
+Science has explained all the processes of the vocal organs in their
+chief functions, and many methods of singing have been based upon
+physiology, physics, and phonetics. To a certain extent scientific
+explanations are absolutely necessary for the singer--as long as they
+are confined to the sensations in singing, foster understanding of the
+phenomenon, and summon up an intelligible picture. This is what
+uninterpreted sensations in singing cannot do; of which fact the
+clearest demonstration is given by the expressions, "bright," "dark,"
+"nasal," "singing forward," etc., that I began by mentioning and that
+are almost always falsely understood. They are quite meaningless
+without the practical teachings of the sensations of such singers as
+have directed their attention to them with a knowledge of the end in
+view, and are competent to correlate them with the facts of science.
+
+The singer is usually worried by the word "physiology"; but only
+because he does not clearly understand the limits of its teachings.
+The singer need, will, and must, know a little of it. We learn so much
+that is useless in this life, why not learn that which is of the
+utmost service to us? What, in brief, does it mean? Perfect
+consciousness in moving the vocal organs, and through the aid of the
+ear, in placing them at will in certain relations with each other; the
+fact that the soft palate can be drawn up against the hard palate;
+that the tongue is able to take many different positions, and that the
+larynx, by the assistance of the vocal sound oo, takes a low position,
+and by that of the vowel [=a] a high one; that all muscles contract in
+activity and in normal inactivity are relaxed; that we must strengthen
+them by continued vocal gymnastics so that they may be able to
+sustain long-continued exertion; and must keep them elastic and use
+them so. It includes also the well-controlled activity of diaphragm,
+chest, neck, and face muscles. This is all that physiology means for
+the vocal organs. Since these things all operate together, one without
+the others can accomplish nothing; if the least is lacking, singing is
+quite impossible, or is entirely bad.
+
+[Illustration: Cavity of the forehead, high range.
+
+Nasal cavity, middle range.
+
+Palatal resonance, low range.
+
+Soft palate laid back against the wall of the throat in low tones,
+lowered in high tones.
+
+Red lines denote the resonance.]
+
+Physiology is concerned also with muscles, nerves, sinews, ligaments,
+and cartilage, all of which are used in singing, but all of which we
+cannot feel. We cannot even feel the vocal cords. Certainly much
+depends for the singer upon their proper condition; and whether as
+voice producers or breath regulators, we all have good reason always
+to spare them as much as possible, and never to overburden them.
+
+Though we cannot feel the vocal cords, we can, nevertheless, hear, by
+observing whether the tone is even,--in the emission of the breath
+under control,--whether they are performing their functions properly.
+Overburdening them through pressure, or emitting of the breath without
+control, results in weakening them. The irritation of severe coughing,
+thoughtless talking or shouting immediately after singing may also set
+up serious congestion of the vocal cords, which can be remedied only
+through slow gymnastics of the tongue and laryngeal muscles, by the
+pronunciation of vowels in conjunction with consonants. Inactivity of
+the vocal organs will not cure it, or perhaps not till after the lapse
+of years.
+
+A good singer can _never_ lose his voice. Mental agitation or severe
+colds can for a time deprive the singer of the use of his vocal
+organs, or seriously impair them. Only those who have been singing
+without consciously correct use of their organs can become
+disheartened over it; those who know better will, with more or less
+difficulty, cure themselves, and by the use of vocal gymnastics bring
+their vocal organs into condition again.
+
+For this reason, if for no other, singers should seek to acquire
+accurate knowledge of their own organs, as well as of their functions,
+that they may not let themselves be burnt, cut, and cauterized by
+unscrupulous physicians. Leave the larynx and all connected with it
+alone; strengthen the organs by daily vocal gymnastics and a healthy,
+_sober_ mode of life; beware of catching cold after singing; do not
+sit and talk in restaurants.
+
+Students of singing should use the early morning hours, and fill their
+days with the various branches of their study. Sing every day only so
+much, that on the next day you can practise again, feeling fresh and
+ready for work, as _regular_ study requires. Better one hour every day
+than ten to-day and none tomorrow.
+
+The public singer should also do his practising early in the day, that
+he may have himself well in hand by evening. How often one feels
+indisposed in the morning! Any physical reason is sufficient to make
+singing difficult, or even impossible; it need not be connected
+necessarily with the vocal organs; in fact, I believe it very rarely
+is. For this reason, in two hours everything may have changed.
+
+I remember a charming incident in New York. Albert Niemann, our heroic
+tenor, who was to sing _Lohengrin_ in the evening, complained to me in
+the morning of severe hoarseness. To give up a role in America costs
+the singer, as well as the director, much money. My advice was to
+wait.
+
+_Niemann._ What do you do, then, when you are hoarse?
+
+_I._ Oh, I practise and see whether it still troubles me.
+
+_Niem._ Indeed; and what do you practise?
+
+_I._ Long, slow scales.
+
+_Niem._ Even if you are hoarse?
+
+_I._ Yes; if I want to sing, or have to, I try it.
+
+_Niem._ Well, what are they? Show me.
+
+_The great scale, the infallible cure._
+
+I showed them to him; he sang them, with words of abuse in the
+meantime; but gradually his hoarseness grew better. He did not send
+word of his inability to appear in the evening, but sang, and better
+than ever, with enormous success.
+
+I myself had to sing _Norma_ in Vienna some years ago, and got up in
+the morning quite hoarse. By nine o'clock I tried my infallible
+remedy, but could not sing above A flat, though in the evening I
+should have to reach high D flat and E flat. I was on the point of
+giving up, because the case seemed to me so desperate. Nevertheless, I
+practised till eleven o'clock, half an hour at a time, and noticed
+that I was gradually getting better. In the evening I had my D flat
+and E flat at my command and was in brilliant form. People said they
+had seldom heard me sing so well.
+
+I could give numberless instances, all going to show that you never
+can tell early in the day how you are going to feel in the evening. I
+much prefer, for instance, not to feel so very well early in the day,
+because it may easily happen that the opposite may be the case later
+on, which is much less agreeable. If you wish to sing only when you
+are in good form, you must excuse yourself ninety-nine times out of a
+hundred. You must learn to know your own vocal organs thoroughly and
+be able to sing; must do everything that is calculated to keep you in
+good condition. This includes chiefly rest for the nerves, care of the
+body, and gymnastics of the voice, that you may be able to defy all
+possible chances.
+
+Before all, never neglect to practise every morning, regularly, proper
+singing exercises through the whole compass of the voice. Do it with
+_painful_ seriousness; and never think that vocal gymnastics weary the
+singer. On the contrary, they bring refreshment and power of endurance
+to him who will become master of his vocal organs.
+
+
+
+
+SECTION V
+
+EQUALIZING THE VOICE; BREATH; FORM
+
+
+Through the lowering of the pillars of the fauces, which is the same
+as raising the soft palate, the outflowing breath is divided into two
+parts.
+
+I have sketched the following representation of it:--
+
+Division of the breath.
+
+By raising the pillars of the fauces, which closes off the throat from
+the cavities of the head, the chest voice is produced; that is, the
+lowest range of all kinds of voices. This occurs when the main stream
+of breath, spreading over against the high-arched palate, completely
+utilizes all its resonating surfaces. This is the palatal resonance,
+in which there is the most power (Plate A).
+
+[Illustration: A
+
+Red lines denote division of the breath in palatal resonance, lower
+range of male and female voices.]
+
+When the soft palate is raised high behind the nose, the pillars of
+the fauces are lowered, and this frees the way for the main stream of
+breath to the head cavities. This now is poured out, filling the nose,
+forehead, and head cavities. This makes the head tone. Called head
+tone in women, falsetto in men, it is the highest range of all classes
+of voices, the resonance of the head cavities (Plate C).
+
+[Illustration: C
+
+Resonance of the cavity of the forehead.
+
+Red lines denote division of the breath in the resonance of the head
+cavity, high range.]
+
+Between these two extreme functions of the palate and breath, one
+stream of breath gives some of its force to the other; and when
+equally divided they form the medium range of all classes of voices
+(Plate B).
+
+[Illustration: B
+
+Red lines denote division of the breath in the middle range.]
+
+The singer must always have in his mind's eye a picture of this
+divided stream of breath.
+
+As I have already said, in the lowest tones of all voices the main
+stream of breath is projected against the palate; the pillars of the
+fauces, being stretched to their fullest extent, and drawn back to the
+wall of the throat, allow _almost_ no breath to reach the head
+cavities.
+
+I say _almost_ none, for, as a matter of fact, a branch stream of
+breath, however small, must be forced back, behind and above the
+pillars, first into the nose, later into the forehead and the cavities
+of the head. This forms the overtones (head tones) which must vibrate
+with all tones, even the lowest. These overtones lead over from the
+purest chest tones, slowly, with a constantly changing mixture of both
+kinds of resonance, first to the high tones of bass and baritone, the
+low tones of tenor, the middle tones of alto and soprano, finally, to
+the purest head tones, the highest tones of the tenor-falsetto or
+soprano. (See the plates.)
+
+The extremely delicate gradation of the scale of increase of the
+resonance of the head cavities in ascending passages, and of increase
+of palatal resonance in descending, depends upon the skill to make the
+palate act elastically, and to let the breath, under control of the
+abdominal and chest pressure, flow uninterruptedly in a gentle stream
+into the resonating chambers. Through the previous preparation of the
+larynx and tongue, it must reach its resonating surfaces as though
+passing through a cylinder, and must circulate in the form previously
+prepared for it, proper for each tone and vowel sound. This form
+surrounds it gently but firmly. The supply of air remains continuously
+the same, _rather increasing than diminishing_, notwithstanding the
+fact that the quantity which the abdominal pressure has furnished the
+vocal cords from the supply chamber is a very small one. That it may
+not hinder further progression, the form must remain elastic and
+sensitive to the most delicate modification of the vowel sound. If the
+tone is to have life, it must always be able to conform to any vowel
+sound. The least displacement of the form or interruption of the
+breath breaks up the whirling currents and vibrations, and
+consequently affects the tone, its vibrancy, its strength, and its
+duration.
+
+In singing a continuous passage upward, the form becomes higher and
+more pliant; the most pliable place on the palate is drawn upward.
+(See Plate A.)
+
+When I sing a single tone I can give it much more power, much more
+palatal or nasal resonance, than I could give in a series of ascending
+tones. In a musical figure I must attack the lowest note in such a way
+that I can easily reach the highest. I must, therefore, give it much
+more head tone than the single tone requires. (Very important.) When
+advancing farther, I have the feeling on the palate, above and behind
+the nose, toward the cavities of the head, of a strong but very
+elastic rubber ball, which I fill like a balloon with my breath
+streaming up far back of it. And this filling keeps on in even
+measure. That is, the branch stream of the breath, which flows into
+the head cavities, must be free to flow very strongly without
+hindrance. (See Plate B.)
+
+I can increase the size of this ball above, to a pear shape, as soon
+as I think of singing higher; and, indeed, I heighten the form
+_before_ I go on from the tone just sung, making it, so to speak,
+_higher_ in that way, and thus keep the form, that is, the
+"propagation form," ready for the next higher tone, which I can now
+reach easily, as long as no interruption in the stream of breath
+against the mucous membrane can take place. For this reason the breath
+must _never be held back_, but must always be emitted in a more and
+more powerful stream. The higher the tone, the more numerous are the
+vibrations, the more rapidly the whirling currents circulate, and the
+more unchangeable must the form be.
+
+Catarrh often dries up the mucous membrane; then the tones are
+inclined to break off. At such times one must sing with peculiar
+circumspection, and with an especially powerful stream of breath
+behind the tone: it is better to take breath frequently. In a
+descending scale or figure I must, on the contrary, preserve very
+carefully the form taken for the highest tone. I must not go higher,
+nor yet, under any circumstances, lower, but must imagine that I
+remain at the same pitch, and must suggest to myself that I am
+striking the same tone again. The form may gradually be a little
+modified at the upper end: that is, the soft palate is lowered very
+carefully behind the nose: keeping almost always to the form employed
+for the highest tone, sing the figure to its end, toward the nose,
+with the help of the vowel _oo_. (This auxiliary vowel _oo_ means
+nothing more than that the larynx is slowly lowered in position.)
+
+When this happens, the resonance of the head cavities is diminished,
+that of the palate increased; for the soft palate sinks, and the
+pillars of the fauces are raised more and more. Yet the head tone must
+not be entirely free from palatal resonance. Both remain to the last
+breath united, mutually supporting each other in ascending and
+descending passages, and alternately but inaudibly increasing and
+diminishing.
+
+These things go to make up the form:--
+
+The raising and lowering of the soft palate, and the corresponding
+lowering and raising of the pillars of the fauces.
+
+The proper position of the tongue: the tip rests on the lower front
+teeth--mine even as low as the roots of the teeth.
+
+The back of the tongue must stand high and free from the throat, ready
+for any movement. A furrow must be formed in the tongue, which is
+least prominent in the lowest tones, and in direct head tones may even
+completely disappear. As soon as the tone demands the palatal
+resonance, the furrow must be made prominent and kept so. In my case
+it can always be seen. This is one of the most important matters, upon
+which too much emphasis can hardly be laid. As soon as the furrow in
+the tongue shows itself, the tone must sound right; for then the mass
+of the tongue is kept away from the throat, and, since its sides are
+raised, it is kept out of the way of the tone.
+
+[Illustration: Side of the tongue kept high.
+
+Furrow.]
+
+[Illustration: Red line denotes:
+
+Sensation in raising the soft palate for high notes.
+
+Sensation of the form in rapid upward passages.
+
+Division of the breath favors the resonance of head cavities.]
+
+It lies flattest in the lowest tones because the larynx then is in
+a very low position, and thus is out of its way.
+
+[Illustration: Red line denotes sensation of the form in slow
+progression of tones.]
+
+[Illustration: Red line denotes sensation for the propagation form.]
+
+Furthermore, there is the unconstrained position of the larynx, which
+must be maintained without pressure of the throat muscles. From it the
+breath must stream forth evenly and uninterruptedly, to fill the form
+prepared for it by the tongue and palate and supported by the throat
+muscles.
+
+This support must not, however, depend in the least upon
+_pressure_,--for the vibrating breath must float above,--but upon the
+greatest elasticity. One must play with the muscles, and be able to
+contract and relax them at pleasure, having thus perfect mastery over
+them. For this incessant practice is required, increasing control of
+the breath through the sense of hearing and the breath pressure.
+
+At first a very strong will power is needed to hold the muscles tense
+without pressure; that is, to let the tone, as it were, soar through
+the throat, mouth, or cavities of the head.
+
+The stronger the improper pressure in the production of the tone, the
+more difficult it is to get rid of. The result is simply, in other
+words, a strain. The contraction of the muscles must go only so far
+that they can be slowly relaxed; that is, can return to their normal
+position _easily_. Never must the neck be swelled up, or the veins in
+it stand out. Every convulsive or painful feeling is wrong.
+
+
+
+
+SECTION VI
+
+THE ATTACK
+
+
+To attack a tone, the breath must be directed to a focal point on the
+palate, which lies under the critical point for each different tone;
+this must be done with a certain decisiveness. There must, however, be
+no pressure on this place; for the overtones must be able to soar
+above, and sound with, the tone. The palate has to furnish, besides,
+the top cover against which the breath strikes, also an extremely
+elastic floor for the breath sounding above it against the hard palate
+or in the nose.
+
+This breath, by forming the overtones, makes certain the connection
+with the resonance of the head cavities.
+
+In order to bring out the color of the tone the whirling currents must
+vivify all the vowel sounds that enter into it, and draw them into
+their circles with an ever-increasing, soaring tide of sound.
+
+The duration of the tone must be assured by the gentle but
+uninterrupted outpouring of the breath behind it. Its strength must be
+gained by the breath pressure and the focal point on the palate, by
+the complete utilization of the palatal resonance; without, however,
+injuring the resonance of the head cavities. (See plate, representing
+the attack.)
+
+[Illustration: Sensation of pitch.
+
+Red line denotes sensation in the attack.]
+
+
+
+
+SECTION VII
+
+NASAL. NASAL SINGING
+
+
+By raising the back of the tongue toward the soft palate and lowering
+the soft palate toward the tongue, we produce nasal sound, such as is
+heard in the pronunciation of the word "hanger," for instance. The air
+is then expelled chiefly through the nose. The nasal sound can be much
+exaggerated--something that very rarely happens; it can be much
+neglected--something that very often happens. Certain it is that it is
+not nearly enough availed of. That is my own everyday experience.
+
+We Germans have only small opportunity to make the acquaintance of the
+nasal sound; we know it in only a few words: "E_ng_el," "la_ng_e,"
+"ma_ng_el," etc.,--always where _ng_ occurs before or after a vowel.
+
+The French, on the contrary, always sing and speak nasally, with the
+pillar of the fauces raised high, and not seldom exaggerate it. On
+account of the rounding up of the whole soft palate, which, through
+the power of habit, is cultivated especially by the French to an
+extraordinary degree, and which affords the breath an enormous space
+as a resonating surface to act upon, their voices often sound
+tremendous. The tenor Silva is a good example of this. Such voices
+have only the one drawback of easily becoming monotonous. At first
+the power of the organ astonishes us; the next time we are
+disappointed--the tone color remains always the same. The tone often
+even degenerates into a hollow quality.
+
+[Illustration: Red lines denote movement of the tongue and palate for
+the nasal tone.]
+
+On the other hand, voices that are not sufficiently nasal sound clear
+and expressionless. Madame Melba, for instance, whose voice is
+cultivated to favor the head tones, and sounds equally well in all its
+ranges, apparently lowers the pillars of the fauces too much, and
+has her chief resonance in the head cavities; she cannot draw upon the
+palatal resonance for single accents of expression. Consequently she
+loses in vocal color. This procedure, as soon as it becomes a habit,
+results in monotony.
+
+In the first case somewhat less, in the second somewhat more, nasal
+resonance would help to a greater variety of effect.
+
+There are singers, too, who pursue the middle path with consummate
+art. Thus Madame Sembrich, in recent years, appears to have devoted
+very special study to nasal tones, whereby her voice, especially in
+the middle register, has gained greatly in warmth.
+
+To fix the pupil's attention on the nasal tone and the elasticity of
+the palate, he should often be given exercises with French words.
+
+
+
+
+SECTION VIII
+
+SINGING TOWARD THE NOSE. HEAD VOICE
+
+
+When the peak of the softest part of the palate is placed forward
+toward the nose, instead of being drawn up high behind the nose, as in
+the head voice (see plate, head voice and nasal tone), it forms a kind
+of nasal production which, as I have already said, cannot be studied
+enough, because it produces very noble tonal effects and extraordinary
+connections. It ought always to be employed. By it is effected the
+connection of tones with each other, from the front teeth back to a
+point under the nose; from the lower middle tones to the head tones.
+In truth, all the benefit of tonal connection depends upon this
+portion of the soft palate; that is, upon its conscious employment.
+
+This is all that singers mean when they speak of "nasal
+singing"--really only singing toward the nose. The soft palate placed
+toward the nose offers a resonating surface for the tone.
+
+The reason why teachers tell their pupils so little of this is that
+many singers are quite ignorant of what nasal singing means, and are
+tormented by the idea of "singing toward the nose," when by chance
+they hear something about it. They generally regard the voice as one
+complete organ acting by itself, which is once for all what it is.
+What can be made of it through knowledge of the functions of all the
+cooeperating organs they know nothing of.
+
+Blind voices are often caused by the exaggerated practice of closing
+off the throat too tightly from the head cavities; that is, drawing
+the pillars of the fauces too far toward the wall of the throat. The
+large resonating chamber thus formed yields tones that are powerful
+close at hand, but they do not carry, because they are poor in
+overtones. The mistake consists in the practice of stretching the
+pillars too widely in the higher vocal ranges, also. In proportion as
+the pillars are extended, the breath spreads over the entire palate,
+instead of being concentrated on only one point of it, and bringing at
+the same time the resonance of the head cavities into play. The soft
+palate must first be drawn up to, then behind, the nose, and the
+attack of the higher tones be transferred thither. The pillars of the
+fauces must necessarily be relaxed by this action of the soft palate.
+Thereby breath is introduced into the cavities of the head to form the
+overtones, which contribute brilliancy and freshness to the voice.
+
+Many singers persist in the bad habit here described, as long as
+nature can endure it; in the course of time, however, even with the
+most powerful physiques, they will begin to sing noticeably flat; with
+less powerful, the fatal tremolo will make its appearance, which
+results in the ruin of so many singers.
+
+[Illustration: Red lines denote vocal sensations of soprano and tenor
+singers.]
+
+[Illustration: The singer's nasal tone.
+
+Red line denotes:
+
+The soft palate raised high in the back, for further progression with
+the head tone.
+
+Vocal sensation.
+
+Red line denotes:
+
+Soft palate drawn toward the nose, for a descending progression.
+
+Vocal sensation.]
+
+
+
+
+SECTION IX
+
+THE HEAD VOICE
+
+
+The head tone signifies, for all voices, from the deepest bass to the
+highest soprano,--excepting for the fact that it furnishes the
+overtones for each single tone of the whole vocal gamut,--youth. A
+voice without vibrancy is an _old_ voice. The magic of youth,
+freshness, is given by the overtones that sound with every tone.
+
+So to utilize the head voice (resonance of the head cavities) that
+every tone shall be able to "carry" and shall remain high enough to
+reach higher tones easily, is a difficult art, without which, however,
+the singer cannot reckon upon the durability of his voice. Often
+employed unconsciously, it is lost through heedlessness, mistaken
+method, or ignorance; and it can hardly ever be regained, or, if at
+all, only through the greatest sacrifice of time, trouble, and
+patience.
+
+The _pure_ head voice (the third register) is, on account of the
+thinness that it has by nature, the neglected step-child of almost all
+singers, male and female; its step-parents, in the worst significance
+of the word, are most singing teachers, male and female. It is
+produced by the complete lowering of the pillars of the fauces, while
+the softest point of the palate--behind the nose--is thrown up very
+high, seemingly, almost into the head; in the highest position, as it
+were, above the head.
+
+The rear of the tongue stands high, but is formed into a furrow, in
+order that the mass of the tongue may not be in the way, either in the
+throat or in the mouth. In the very highest falsetto and head tones
+the furrow is pretty well filled out, and then no more breath at all
+reaches the palatal resonance.
+
+The larynx stands high--mine leans over to one side. (See plates of
+larynx.)
+
+[Illustration:
+
+A
+
+Normal position of the larynx.
+
+B
+
+The position of my larynx in the high range.]
+
+The vocal cords, which we cannot feel, now approach very near each
+other. The pupil should not read about them until he has learned to
+hear correctly. I do not intend to write a physiological work, but
+simply to attempt to examine certain infallible vocal sensations of
+the singer; point out ways to cure evils, and show how to gain a
+correct understanding of that which we lack.
+
+Up to a certain pitch, with tenors as well as with sopranos, the head
+tones should be mixed with palatal resonance. With tenors this will be
+a matter of course, though with them the chest tones are much abused;
+with sopranos, however, a judicious mixture may be recommended because
+more expression is required (since the influence of Wagner has become
+paramount in interpreting the meaning of a composition, especially of
+the words) than in the brilliant fireworks of former times. The head
+voice, too, must not be regarded as a definite register of its own,
+which is generally produced in the middle range through too long a
+persistence in the use of the palatal and nasal resonance. If it is
+suddenly heard alone, after forcing tones that have preceded it, which
+is not possible under other circumstances, it is of course noticeably
+thin, and stands out to its disadvantage--like every other sharply
+defined register--from the middle tones. In the formation of the voice
+no "register" should exist or be created; the voice must be made even
+throughout its entire range. I do not mean by this that I should sing
+neither with chest tones nor with head tones. On the contrary, the
+practised artist should have at his command all manner of different
+means of expression, that he may be able to use his single tones,
+according to the expression required, with widely diverse qualities of
+resonance. This, too, must be cared for in his studies. But these
+studies, because they must fit each individual case, according to the
+genius or talent of the individual, can be imparted and directed only
+by a good teacher.
+
+The head voice, when its value is properly appreciated, is the most
+valuable possession of all singers, male and female. It should not be
+treated as a Cinderella, or as a last resort,--as is often done too
+late, and so without results, because too much time is needed to
+regain it, when once lost,--but should be cherished and cultivated as
+a guardian angel and guide, like no other. Without its aid all voices
+lack brilliancy and carrying power; they are like a head without a
+brain. Only by constantly summoning it to the aid of all other
+registers is the singer able to keep his voice fresh and youthful.
+Only by a careful application of it do we gain that power of endurance
+which enables us to meet the most fatiguing demands. By it alone can
+we effect a complete equalization of the whole compass of all voices,
+and extend that compass.
+
+This is the great secret of those singers who keep their voices young
+till they reach an advanced age. Without it all voices of which great
+exertions are demanded infallibly meet disaster. Therefore, the motto
+must be always, practice, and again, practice, to keep one's powers
+uninjured; practice brings freshness to the voice, strengthens the
+muscles, and is, for the singer, far more interesting than any musical
+composition.
+
+If in my explanations I frequently repeat myself, it is done not
+unintentionally, but deliberately, because of the difficulty of the
+subject, as well as of the superficiality and negligence of so many
+singers who, after once hastily glancing through such a treatise,--if
+they consider it worth their while at all to inform themselves on the
+subject,--think they have done enough with it.
+
+One must read continually, study constantly by one's self, to gain
+even a faint idea of the difficulty of the art of singing, of managing
+the voice, and even of one's own organs and mistakes, which are one's
+second self. The phenomenon of the voice is an elaborate complication
+of manifold functions which are united in an extremely limited space,
+to produce a single tone; functions which can only be heard, scarcely
+felt--indeed, should be felt as little as possible. Thus, in spite of
+ourselves, we can only come back again to the point from which we
+started, as in an eddy, repeating the explanations of the single
+functions, and relating them to each other.
+
+Since in singing we sense none of the various activities of the
+cartilage, muscles, ligaments, and tendons that belong to the vocal
+apparatus, feel them only in their cooeperation, and can judge of the
+correctness of their workings only through the ear, it would be absurd
+to think of them while singing. We are compelled, in spite of
+scientific knowledge, to direct our attention while practising, to the
+sensations of the voice, which are the only ones we can become aware
+of,--sensations which are confined to the very palpable functions of
+the organs of breathing, the position of the larynx, of the tongue,
+and of the palate, and finally, to the sensation of the resonance of
+the head cavities. The perfect tone results from the combined
+operations of all these functions, the sensations of which I undertake
+to explain, and the control of which the ear alone can undertake.
+
+This is the reason why it is so important to learn to hear one's self,
+and to sing in such a way that one can always so hear.
+
+Even in the greatest stress of emotion the power of self-control must
+never be lost; you must never allow yourself to sing in a slovenly,
+that is, in a heedless, way, or to exceed your powers, or even to
+reach their extreme limit. That would be synonymous with roughness,
+which should be excluded from every art, especially in the art of
+song. The listener must gain a pleasing impression from every tone,
+every expression of the singer; much more may be given if desired.
+
+Strength must not be confounded with roughness; and the two must not
+go hand in hand together. Phenomenal beings may perhaps be permitted
+to go beyond the strength of others; but to the others this must
+remain forbidden. It cannot become a regular practice, and is best
+limited to the single phenomenon. We should otherwise soon reach the
+point of crudest realism, from which at best we are not far removed.
+Roughness will never attain artistic justification, not even in the
+case of the greatest individual singers, because it is an offence.
+
+The public should witness from interpretative art only what is good
+and noble on which to form its taste; there should be nothing crude or
+commonplace put before it, which it might consider itself justified in
+taking as an example.
+
+Of the breath sensation I have already spoken at length. I must add
+that it is often very desirable in singing to breathe through the
+nose with the mouth closed; although when this is done, the raising of
+the palate becomes less certain, as it happens somewhat later than
+when the breath is taken with the mouth open. It has, however, this
+disadvantage, that neither cold air nor dust is drawn into the larynx
+and air passages. I take pleasure in doing it very often. At all
+events, the singer should often avail himself of it.
+
+We feel the larynx when the epiglottis springs up ("stroke of the
+glottis," if the tone is taken from below upward). We can judge
+whether the epiglottis springs up quickly enough if the breath comes
+out in a full enough stream to give the tone the necessary resonance.
+The low position of the larynx can easily be secured by pronouncing
+the vowel _oo_; the high, by pronouncing the vowel _[=a]_. Often
+merely thinking of one or the other is enough to put the larynx,
+tongue, and palate in the right relations to each other. Whenever I
+sing in a high vocal range, I can plainly feel the larynx rise and
+take a diagonal position. (See plate.)
+
+The movement is, of course, very slight. Yet I have the feeling in my
+throat as if everything in it was stretching. I feel the pliability of
+my organs plainly as soon as I sing higher.
+
+
+
+
+SECTION X
+
+SENSATION AND POSITION OF THE TONGUE
+
+
+We feel the placing of its tip against or beneath the front teeth; and
+place the tip very low, so that it really curves over in front. (See
+plate.)
+
+Its hinder part must be drawn back toward the palate, in the
+pronunciation of every letter.
+
+Furthermore, by looking in the mirror we can _see_ that the sides of
+the tongue are raised as soon as we wish to form a furrow in it; that
+is, as we _must_ do to produce the palatal resonance. (Only in the
+head tone--that is, the use of the resonance of the head cavities
+without the added palatal resonance--has the tongue no furrow; it
+must, however, lie very high, since otherwise its mass, when it lies
+flat, presses against the larynx and produces pinched or otherwise
+disagreeable tones.)
+
+The best way is to get the mass of the tongue out of the way by
+forming the furrow in it. In high notes, when the larynx must stand as
+high as possible, the back of the tongue also must stand very high;
+but since there is a limit to this, we are often compelled to make the
+larynx take a lower position.
+
+[Illustration: Correct. Incorrect.]
+
+The correct position of the tongue, preparatory to singing, is gained
+by saying the vowel sound _aou_, as if about to yawn.
+
+The tongue must not scrape around upward with its tip. As soon as the
+tip has been employed in the pronunciation of the consonants _l_, _n_,
+_s_, _t_, and _z_, in which its service is very short and sharp, it
+must return to its former position, and keep to it.
+
+It is best to watch the movements of the tongue in the mirror until we
+have formed the correct habit permanently. The more elastic the tongue
+is in preparing the form for the breath to pass through, the stiller
+will it appear, the stiller will it feel to us. It is well, however,
+for a considerable time to watch in a mirror all functions of the
+organs that can be seen; the expression of the face, the position of
+the mouth, and the movement of the lips.
+
+
+
+
+SECTION XI
+
+THE SENSATIONS OF THE PALATE
+
+
+The sensations of the palate are best made clear to us by raising the
+softest part behind the nose. This part is situated very far back. Try
+touching it carefully with the finger. This little part is of
+immeasurable importance to the singer. By raising it the entire
+resonance of the head cavities is brought into play--consequently the
+head tones are produced. When it is raised, the pillars of the fauces
+are lowered. In its normal position it allows the pillars to be
+distended and to close the head cavities off from the throat, in order
+to produce the chest tones; that is, to permit the breath to make
+fullest use of the palatal resonance. As soon as the soft palate is
+lowered under the nose, it makes a point of resonance for the middle
+range of voice, by permitting the overtones to resound at the same
+time in the nose. (See plate, middle range.)
+
+[Illustration: Red lines denote middle range of soprano, contralto,
+and tenor.
+
+In the German names of the notes, _h_ represents _b_ in the English.]
+
+[Illustration: Red line denotes peak, or softest point of the palate.]
+
+Thus the palate performs the whole work so far as concerns the
+different resonances, which can be united and separated by it, but
+must _always work together in close relation, always bound together in
+all tones, in all kinds of voices_.
+
+The lowest chest tones of the bass, the highest head tones of the
+soprano, are thus the two poles between which the entire gamut of all
+voices can be formed. From this it can be perceived that with a
+certain degree of skill and willingness to work, every voice will be
+capable of great extension.
+
+
+
+
+SECTION XII
+
+THE SENSATION OF THE RESONANCE OF THE HEAD CAVITIES
+
+
+The sensation of the resonance of the head cavities is perceived
+chiefly by those who are unaccustomed to using the head tones. The
+resonance against the occipital walls of the head cavities when the
+head tones are employed, at first causes a very marked irritation of
+the nerves of the head and ear. But this disappears as soon as the
+singer gets accustomed to it. The head tones can be used and directed
+by the breath only with a clear head. The least depression such as
+comes with headaches, megrim, or moodiness may have the worst effect,
+or even make their use quite impossible. This feeling of oppression is
+lost after regular, conscious practice, by which all unnecessary and
+disturbing pressure is avoided. In singing very high head tones I have
+a feeling as if they lay high above the head, as if I were setting
+them off into the air. (See plate.)
+
+Here, too, is the explanation of singing _in the neck_. The breath, in
+all high tones which are much mixed with head tones or use them
+entirely, passes very far back, directly from the throat into the
+cavities of the head, and thereby, and through the oblique position of
+the larynx, gives rise to the sensations just described. A singer who
+inhales and exhales carefully, that is, with knowledge of the
+physiological processes, will always have a certain feeling of
+pleasure, an attenuation in the throat as if it were stretching itself
+upward. The bulging out of veins in the neck, that can so often be
+seen in singers, is as wrong as the swelling up of the neck, looks
+very ugly, and is not without danger from congestion.
+
+With rapid scales and trills one has the feeling of great firmness of
+the throat muscles, as well as of a certain stiffness of the larynx.
+(See "Trills.") An unsteady movement of the latter, this way and that,
+would be disadvantageous to the trill, to rapid scales, as well as to
+the cantilena. For this reason, because the changing movements of the
+organs must go on quite imperceptibly and inaudibly, it must be more
+like a shifting than a movement. In rapid scales the lowest tone must
+be "placed" with a view to the production of the highest, and in
+descending, the greatest care must be exercised that the tone shall
+not tumble over each other single, but shall produce the sensation of
+closely connected sounds, through being bound to the high tone
+position and pressed toward the nose.
+
+In this all the participating vocal organs must be able to keep up a
+muscular contraction, often very rigid: a thing that is to be achieved
+only gradually through long years of careful and regular study.
+Excessive practice is of no use in this--only regular and
+intelligent practice; and success comes only in course of time.
+
+[Illustration: Red line denotes vocal sensation of soprano and tenor.]
+
+Never should the muscular contractions become convulsive and produce
+pressure which the muscles cannot endure for a long time. They must
+respond to all necessary demands upon their strength, yet remain
+elastic in order that, easily relaxing or again contracting, they may
+promptly adapt themselves to every nuance in tone and accent desired
+by the singer.
+
+A singer can become and continue to be master of his voice and means
+of expression only as long as he practises daily correct vocal
+gymnastics. In this way alone can he obtain unconditional mastery over
+his muscles, and, through them, of the finest controlling apparatus,
+of the beauty of his voice, as well as of the art of song as a whole.
+
+Training the muscles of the vocal organs so that their power to
+contract and relax to all desired degrees of strength, throughout the
+entire gamut of the voice, is always at command, makes the master
+singer.
+
+As I have already said, the idea of "singing forward" leads very many
+singers to force the breath from the mouth without permitting it to
+make full use of the resonating surfaces that it needs, yet it streams
+forth from the larynx really very far back in the throat, and the
+straighter it rises in a column behind the tongue, the better it is
+for the tone. The tongue must furnish the surrounding form for this,
+for which reason it must not lie flat in the mouth. (See plate, the
+tongue.)
+
+The whirling currents of tone circling around their focal point (the
+attack) find a cup-shaped resonating cavity when they reach the front
+of the mouth and the lips, which, through their extremely potent
+auxiliary movements, infuse life and color into the tone and the word.
+Of equal importance are the unimpeded activity of the whirling
+currents of sound and their complete filling of the resonating
+spaces in the back of the throat, the pillars of the fauces, and the
+head cavities in which the vocalized breath must be kept soaring above
+the larynx and _soaring undisturbed_.
+
+In the lowest range of the voice the entire palate from the front
+teeth to the rear wall of the throat must be thus filled. (See plate.)
+
+[Illustration: Red lines denote division of the breath in the palatal
+resonance: lower range of male and female voices.]
+
+With higher tones the palate is lowered, the nostrils are inflated,
+and above the hard palate a passage is formed for the overtones. (See
+plate.)
+
+[Illustration: Red lines denote division of the breath in the middle
+range and higher middle range.]
+
+This air which soars above must, however, not be in the least
+compressed; the higher the tone, the less pressure should there be;
+for here, too, whirling currents are formed, which must be neither
+interrupted nor destroyed. The breath must be carried along on the
+wall of the throat without compression, in order to accomplish its
+work. (See plate, high tones.)
+
+[Illustration: Resonance of the cavity of the forehead.
+
+Red lines denote division of the breath in the resonance of the head
+cavities, high range.]
+
+Singing forward, then, does not mean pressing the whole of the
+_breath_ or the tone forward, but only part of it; that is, in the
+middle register, finding a resonating focus in front, caused by the
+lowering of the front of the palate. This permits a free course only
+to that part of the breath which is used up by the whirling currents
+in the resonant throat form, and serves to propagate the outer waves,
+and carry them farther through space.
+
+
+
+
+SECTION XIII
+
+SINGING COVERED
+
+
+We sing covered as soon as the soft palate is lowered toward the nose
+(that is, in the middle register), and the resonance and attack are
+transferred thither so that the breath can flow over the soft palate
+through the nose.
+
+This special function of the palate, too, should be carefully prepared
+for in the tones that precede it, and mingled with them, in order not
+to be heard so markedly as it often is. In men's voices this is much
+more plainly audible than in women's; but both turn it to account
+equally on different tones. This often produces a new register that
+should not be produced. This belongs to the chapter on registers.
+
+[Music illustration]
+
+The tone is concentrated on the front of the palate instead of being
+spread over all of it--but this must not be done too suddenly. [See
+illustrations on pages 127, 129, 131, 133.]
+
+[Illustration: Red lines denote covered tones for contralto and
+soprano.]
+
+[Illustration: Red lines denote covered tones for bass and baritone.]
+
+[Illustration: Red lines denote change of attack. (Soprano, contralto,
+and tenor.)]
+
+[Illustration: Red lines denote change of attack. (Bass and
+baritone.)]
+
+
+
+
+SECTION XIV
+
+ON VOCAL REGISTERS
+
+
+What is a vocal register?
+
+A series of tones sung in a certain way, which are produced by a
+certain position of the vocal organs--larynx, tongue, and palate.
+Every voice includes three registers--chest, middle, and head. But all
+are not employed in every class of voice.
+
+Two of them are often found connected to a certain extent in
+beginners; the third is usually much weaker, or does not exist at all.
+Only very rarely is a voice found naturally equalized over its whole
+compass.
+
+Do registers exist by nature? No. It may be said that they are created
+through long years of speaking in the vocal range that is easiest to
+the person, or in one adopted by imitation, which then becomes a
+fixed habit. If this is coupled with a natural and proper working of
+the muscles of the vocal organs, it may become the accustomed range,
+strong in comparison with others, and form a register by itself. This
+fact would naturally be appreciated only by singers.
+
+If, on the other hand, the muscles are wrongly employed in speaking,
+not only the range of voice generally used, but the whole voice as
+well, may be made to sound badly. So, in every voice, one or another
+range may be stronger or weaker; and this is, in fact, almost always
+the case, since mankind speaks and sings in the pitch easiest or most
+accustomed, without giving thought to the proper position of the
+organs in relation to each other; and people are rarely made to pay
+attention as children to speaking clearly and in an agreeable voice.
+In the most fortunate instances the range thus practised reaches
+limits on both sides, not so much those of the person's power, as
+those set by his lack of skill, or practice. Limitations are put on
+the voice through taking account only of the easiest and most
+accustomed thing, without inquiring into the potentialities of the
+organs or the demands of art.
+
+[Illustration: Red lines denote a register is formed when as many
+tones as possible are forced upon one and the same point of resonance.
+(Bass and baritone.)]
+
+[Illustration: Red lines denote a register is formed when as many
+tones as possible are forced upon one and the same point of resonance.
+(Soprano, contralto, and tenor.)]
+
+Now, suppose such a peculiarity which includes, let us say, three or
+four tones, is extended to six or eight, then, in the course of time,
+in the worst cases, a break is produced at the outside limits. In the
+most favorable cases the tones lying next beyond these limits are
+conspicuously weak and without power compared with those previously
+forced. This one way of singing can be used no farther; another must
+be taken up, only, perhaps, to repeat farther the incorrect procedure.
+
+Three such limits or ways of singing can be found and used. Chest,
+middle, and head voice, all three form registers when exaggerated; but
+they should be shaded off and melt into each other. The organs,
+through the skilful training of the teacher, as well as by the
+exercise of the pupil's talent and industry, must be accustomed to
+taking such positions that one register leads into another
+imperceptibly. In this way beauty, equality, and increased compass of
+the voice will be made to enhance its usefulness.
+
+When the three ways of singing are too widely different and too
+sharply contrasted, they become separate registers. These are
+everywhere accepted as a matter of course, and for years have been a
+terror in the teaching of singing, that has done more than anything
+else to create a dreadful bewilderment among singers and teachers. To
+eradicate it is probably hopeless. Yet, these registers are nothing
+more than three disconnected manners of using the vocal and resonating
+apparatus.
+
+With all the bad habits of singers, with all the complete ignorance of
+cause and effect, that prevail, it is not surprising that some pretend
+to tell us that there are two, three, four, or five registers,
+although as a matter of fact there can be at most three in any voice.
+It will be much more correct to call every tone of every voice by the
+name of a new additional register, for in the end, every tone will and
+_must_ be taken in a different relation, with a different position of
+the organs, although the difference may be imperceptible, if it is to
+have its proper place in the whole. People cling to the appellations
+of chest, middle, and head _register_, confounding voice with
+register, and making a hopeless confusion, from which only united and
+very powerful forces can succeed in extricating them.
+
+As long as the word "register" is kept in use, the registers will not
+disappear. And yet, the register question must be swept away, to give
+place to another class of ideas, sounder views on the part of
+teachers, and a truer conception on the part of singers and pupils.
+
+
+
+
+SECTION XV
+
+DEVELOPMENT AND EQUALIZATION
+
+
+Naturally, a singer can devote more strength to the development of one
+or two connected ranges of his voice than to a voice perfectly
+equalized in all its accessible ranges. For this are required many
+years of the most patient study and observation, often a
+long-continued or entire sacrifice of one or the other limit of a
+range for the benefit of the next-lying weaker one; of the head voice
+especially, which, if unmixed, sounds uneven and thin in comparison
+with the middle range, until by means of practised elasticity of the
+organs and endurance of the throat muscles a positive equalization can
+take place.
+
+Voices which contain only one or two registers are called short
+voices, for their availability is as limited as they are themselves.
+
+Yet it must be remembered that all voices alike, whether short or
+long, even those of the most skilful singers, when age comes on, are
+apt to lose their highest ranges, if they are not continually
+practised throughout their entire compass with the subtlest use of the
+head tones. Thence it is to be concluded that a singer ought always to
+extend the compass of his voice as far as possible, in order to be
+certain of possessing the compass that he needs.
+
+On the formation of the organs depends much of the character of the
+voice. There are strong, weak, deep, and high voices by nature; but
+every voice, by means of proper study, can attain a certain degree of
+strength, flexibility, and compass.
+
+Unfortunately, stubbornness enters largely into this question, and
+often works in opposition to the teacher. Many, for instance, wish to
+be altos, either because they are afraid of ruining their voices by
+working for a higher compass, or because it is easier for them, even
+if their voices are not altos at all.
+
+Nowadays operas are no longer composed for particular singers and the
+special characteristics of their voices. Composers and librettists
+express what they feel without regard to an alto singer who has no
+high C or a soprano who has no low A flat or G. But the _artist_ will
+always find what he needs.
+
+Registers exist in the voices of almost all singers, but they ought
+not to be heard, ought not, indeed, to exist. Everything should be
+sung with a mixed voice in such a way that no tone is forced at the
+expense of any other. To avoid monotony the singer should have at his
+disposal a wealth of means of expression in all ranges of his voice.
+(See the Varieties of Attack and Dynamic Power.) Before all else he
+should have knowledge of the advantages in the resonance of certain
+tones, and of their connection with each other. The _soul_ must
+provide the color; skill and knowledge as to cause and effect,
+management of the breath, and perfection of the throat formation must
+give the power to produce every dynamic gradation and detail of
+expression. Registers are, accordingly, produced when the singer
+forces a series of tones, generally ascending, upon one and the same
+resonating point, instead of remembering that in a progression of
+tones no one tone can be exactly like another, because the position of
+the organs must be different for each. The palate must remain elastic
+from the front teeth to its hindmost part, mobile and susceptible,
+though imperceptibly, to all changes. Very much depends on the
+continuous harmony of action of the soft and hard palate, which must
+always be in full evidence, the raising and extension of the former
+producing changes in the tone. If, as often happens when the registers
+are sharply defined, tones fall into a _cul de sac_, escape into
+another register is impossible, without a jump, which may lead to
+disaster. With every tone that the singer has to sing, he must always
+have the feeling that he _can_ go higher, and that the attack for
+different tones must not be forced upon one and the same point.
+
+The larynx must not be _suddenly_ pressed down nor jerked up, except
+when this is desired as a special effect. That is, when one wishes to
+make a transition, _legato_, from a chest tone to a tone in the middle
+or head register, as the old Italians used to do, and as I, too,
+learned to do, thus:--
+
+[Music illustration]
+
+In this case the chest tone is attacked very nasal, in order that the
+connection may remain to the upper note, and the larynx is suddenly
+jerked up to the high tone. This was called breaking the tone; it was
+very much used, and gave fine effects when it was well done. I use it
+to-day, especially in Italian music, where it belongs. It is an
+exception to the rule for imperceptible or inaudible change of
+position of the organs,--that it should not be made _suddenly_.
+
+The scale proceeds from one semitone to another; each is different;
+each, as you go on, requires greater height, wherefore the position of
+the organs cannot remain the same for several different tones. But, as
+there should never be an abrupt change audible in the way of singing,
+so should there never be an abrupt change felt in the sensations of
+the singer's throat. Every tone must be imperceptibly prepared in an
+elastic channel and must produce an easy feeling in the singer, as
+well as an agreeable impression upon the listener.
+
+The small peak indicated in the illustration is enormously extensible
+and can be shifted into infinite varieties of position. However
+unimportant its raising and lowering may appear, they are nevertheless
+of great importance for the tone and the singer. The focal point of
+the breath, that forms simultaneously the attack and the body of the
+tone, by the operation of the abdominal breath pressure against the
+chest, is always firmly placed on, beneath, or behind the nose.
+Without body even the finest pianissimo has no significance. The very
+highest unmixed head tones are an exception, and they can express
+nothing. There can be no body expected in them. Their soaring quality
+of sound endures no pressure, and consequently gives no expression,
+which is possible only through an admixture of palatal resonance.
+Their only significance is gained through their pure euphony.
+
+All vowels, too, must keep their point of resonance uninterruptedly on
+the palate. All beauty in the art of song, in cantilena as well as in
+all technique, consists chiefly in uninterrupted connection between
+the tone and the word, in the flexible connection of the soft palate
+with the hard, in the continually elastic adjustment of the former
+to the latter. This means simply the elastic form, which the breath
+must fill in every corner of resonating surface without interruption,
+as long as the tone lasts.
+
+[Illustration: Red line denotes softest point on the palate.]
+
+If the singer will control his tone,--and in practising he must always
+do so,--he needs only to test it to see whether he can easily make it
+softer without perceptible change in the position of the organs, and
+carry it higher toward the nose and the cavities of the forehead; that
+is, prepare a form for its continuation upward.
+
+_In this way he can learn how much height a tone needs without being
+too high, and how much it often lacks in height and duration to sound
+high enough._
+
+In this way remarkable faults become evident! The reason why a tone
+sounds too low--the so-called transition tones from the lower to the
+middle range and from this to the higher, come up for consideration
+chiefly--is that the pillars of the fauces are raised too high toward
+the back, preventing the head tones from sounding at the same time; or
+the soft palate is lowered too far under the nose, which results in
+pressing the tone too long and too far toward the teeth. This fault is
+met with in very many singers, in all kinds of voices, and in almost
+the same places. It comes only from an unyielding retention of the
+same resonating point for several tones and a failure to bring in the
+resonance of the head cavities. The "propagation form," or continuing
+form,[2] must always be prepared consciously, for without it artistic
+singing is not to be thought of.
+
+[Footnote 2: "Fortpflanzungsform": the preparation made in the vocal
+organs for taking the next tone before leaving the one under
+production, so that the succeeding tones shall all be of like
+character and quality.]
+
+The neglect of this most important principle usually results in
+overstraining the vocal cords and throat muscles. This is followed
+first by singing flat, and later by the appearance of the hideous
+tremolo (see Tremolo) to which so many singers fall victims. The
+cause of a tone's being too sharp is the dwelling too long on the
+resonance of the head cavities, where the tone should already have
+been mixed with palatal resonance. With very young voices this can
+easily happen, and can also result from weariness, when the bodily
+strength is not developed sufficiently to endure the fatigue of
+practising. A very circumspect course must then be followed.
+
+
+
+
+SECTION XVI
+
+WHITE VOICES
+
+
+There are also singers, male and female, who use too much head tone
+through their entire compass; such voices are called "white." Their
+use of the palatal resonance being insufficient, they are not able to
+make a deeper impression, because their power of expression is
+practically nothing. Frau Wedekind and Madame Melba are instances of
+this. In such cases it would be advisable to raise the pillars of the
+fauces a little higher, and place the larynx somewhat lower, and to
+mingle judiciously with all the other vowels, the vowel sound _oo_,
+that requires a lower position of the larynx. The voices would become
+warmer and would sound more expressive. As soon as the singer is able
+to create easily and inaudibly on every tone the correct propagation
+form for the next tone, all questions as to register must disappear.
+He must not, however, be drilled on _registers_; several tones must
+not be forced on one and the same point. Every tone should be put
+naturally into its own place; should receive the pitch, duration, and
+strength it needs for its perfection. And one master rules it
+all,--the ear!
+
+The goal is, unfortunately, so seldom reached because it can be
+reached only through the moderation that comes from mastery; and,
+alas! only true masters practise it.
+
+It may be accepted as true that the lower ranges of the voice have the
+greatest strength, the middle ranges the greatest power of expression,
+the higher the greatest carrying power.
+
+The best mixture--all three together--may be developed to the highest
+art by the skill of the individual, often, indeed, only by a good ear
+for it. Whenever expression of the word's significance, beauty of the
+vocal material, and perfection of phrasing are found united in the
+highest degree, it is due either to knowledge or to a natural skill in
+the innumerable ways of fitting the sung word to the particular
+resonance--connections that are suitable to realize its significance,
+and hence its spirit. They are brought out by a stronger inclination
+toward one or the other of the resonance surfaces, without, however,
+injuring the connection or the beauty of the musical phrase. Here
+aesthetic feeling plays the chief part, for whatever may be its power
+and its truthfulness, the result must always be beautiful,--that is,
+restrained within proper limits.
+
+This law, too, remains the same for all voices. It is a question of
+the entire compass of a voice trained for artistic singing, one that
+is intrusted with the greatest of tasks, to interpret works of art
+that are no popular songs, but, for the most part, human tragedies.
+Most male singers--tenors especially--consider it beneath them,
+generally, indeed, unnatural or ridiculous, to use the falsetto,
+which is a part of all male voices, as the head tones are a part of
+all female voices. They do not understand how to make use of its
+assistance, because they often have no idea of its existence, or know
+it only in its unmixed purity--that is, its thinnest quality. Of its
+proper application they have not the remotest conception. Their
+singing is generally in accordance with their ignorance.
+
+The mixture is present by nature in all kinds of voices, but singers
+must possess the skill and knowledge to employ it, else the natural
+advantage goes for nothing.
+
+
+
+
+SECTION XVII
+
+THEODOR WACHTEL
+
+
+The most perfect singer that I remember in my Berlin experience was
+Theodor Wachtel in this respect, that with his voice of rare splendor,
+he united all that vocal art which, as it seems, is destined quite to
+disappear from among us. How beautiful were his coloratura, his
+trills,--simply flawless! Phrasing, force, fulness of tone, and beauty
+were perfect, musically without a blemish. If he did not go outside
+the range of Arnold, G. Brown, Stradella, Vasco, the Postillion and
+Lionel, it was probably because he felt that he was not equal to
+interpreting the Wagnerian spirit. In this he was very wise. As one of
+the first of vocal artists, whose voice was superbly trained and was
+preserved to the end of his life, I have had to pay to Wachtel the
+tribute of the most complete admiration and recognition, in contrast
+to many others who thought themselves greater than he, and yet were
+not worthy to unloose the latchet of his shoes.
+
+Recently the little Italian tenor Bonci has won my hearty admiration
+for his splendidly equalized voice, his perfect art, and his knowledge
+of his resources; and notwithstanding the almost ludicrous figure that
+he cut in serious parts, he elicited hearty applause. Cannot German
+tenors, too, learn to sing _well_, even if they do interpret Wagner?
+Will they not learn, for the sake of this very master, that it is
+their duty not to use their voices recklessly?
+
+Is it not disrespectful toward our greatest masters that they always
+have to play hide and seek with the _bel canto_, the trill, and
+coloratura? Not till one has fully realized the difficulties of the
+art of song, does it really become of value and significance. Not till
+then are one's eyes opened to the duty owed not only to one's self
+but to the public.
+
+The appreciation of a difficulty makes study doubly attractive; the
+laborious ascent of a summit which no one can contest, is the
+attainment of a goal.
+
+Voices in which the palatal resonance--and so, power--is the
+predominating factor, are the hardest to manage and to preserve. They
+are generally called chest voices. Uncommon power and fulness of tone
+in the middle ranges are extremely seductive. Only rarely are people
+found with sense enough to renounce such an excess of fulness in favor
+of the head tones,--that is, the least risky range to exploit and
+preserve,--even if this has to be done only temporarily.
+
+Copious vocal resources may with impunity be brought before the public
+and thereby submitted to strain, only after long and regular study.
+
+The pure head tone, without admixture of palatal resonance, is feeble
+close at hand, but penetrating and of a carrying power equalled by no
+other. Palatal resonance without admixture of the resonance of the
+head cavities (head tones) makes the tone very powerful when heard
+near by, but without vibrancy for a large auditorium. This is the
+proof of how greatly _every_ tone needs the proper admixture.
+
+
+
+
+SECTION XVIII
+
+THE HIGHEST HEAD TONES
+
+
+As we have already seen, there is almost no limit to the height that
+can be reached by the pure head tone without admixture of palatal
+resonance. Very young voices, especially, can reach such heights, for
+without any strain they possess the necessary adaptability and skill
+in the adjustment to each other of the larynx, tongue, and pillars of
+the fauces. A skill that rests on ignorance of the true nature of the
+phenomenon must be called pure chance, and thus its disappearance is
+as puzzling to teacher and listener as its appearance had been in the
+first place. How often is it paired with a total lack of ability to
+produce anything but the highest head tones! As a general rule such
+voices have a very short lease of life, because their possessors are
+exploited as wonders, before they have any conception of the way to
+use them, of tone, right singing, and of cause and effect in general.
+An erroneous pressure of the muscles, a wrong movement of the tongue
+(raising the tip, for instance, [Illustration]), an attempt to
+increase the strength of the tone,--all these things extinguish
+quickly and for all time the wonder-singer's little light.
+
+We Lehmann children in our youth could sing to the very highest pitch.
+It was nothing for my sister Marie to strike the 4-line _e_ a hundred
+times in succession, and trill on it for a long time. She could have
+sung in public at the age of seven. But since our voices, through the
+circumstances of our life and surroundings, were forced to early
+exertions, they lost their remarkable high notes; yet enough was left
+to sing the _Queen of Night_ (in Mozart's opera "Die Zauberfloete"),
+with the high _f_.
+
+After I had been compelled to use my lower and middle ranges much
+more, in the study of dramatic parts, I omitted the highest notes from
+my practice, but could not then always have relied on them. Now that I
+know on what it all depends, it is very easy for me to strike high
+_f_, not only in passing, but to combine it with any tone through
+three octaves. But upon the least pressure by any organ, the head
+resonance loses its brilliancy; that is, the breath no longer streams
+into the places where it should, and can create no more whirling
+currents of sound to fill the spaces.
+
+But one should not suppose that the head tones have no power. When
+they are properly used, their vibrancy is a substitute for any amount
+of power.
+
+As soon as the head tones come into consideration, one should _never_
+attempt to sing an open _ah_, because on _ah_ the tongue lies
+flattest. One should think of an _[=a]_, and in the highest range even
+an _[=e]_; should mix the _[=a]_ and _[=e]_ with the _ah_, and thereby
+produce a position of the tongue and soft palate that makes the path
+clear for the introduction of the breath into the cavities of the
+head.
+
+[Illustration: Red lines denote vocal sensation in the highest head
+tones without mixture.]
+
+Singers who, on the other hand, pronounce _[=a]_ and _[=e]_ too
+sharply, need only introduce an admixture of _oo_; they thereby lower
+the position of the larynx, and thus give the vowel and tone a darker
+color.
+
+Since the stream of breath in the highest tones produces currents
+whirling with great rapidity, the more rapidly the higher the tone is,
+the slightest pressure that may injure the form in which they
+circulate may ruin the evenness of the tone, its pitch, perhaps the
+tone itself. Each high tone must _soar gently_, like the overtones.
+
+The upper limits of a bass and baritone voice are
+
+[Music illustration]
+
+where, consequently, the tones must be mixed. Pure head tones, that
+is, falsetto, are never demanded higher than this. I regard it,
+however, as absolutely necessary for the artist to give consideration
+to his falsetto, that he may include it among his known resources.
+Neither a bass nor a baritone should neglect to give it the proper
+attention, and both should learn to use it as one of their most
+important auxiliary forces.
+
+With what mastery did Betz make use of it; how noble and beautiful his
+voice sounded in all its ranges; of what even strength it was, and how
+infallibly fresh! And let no one believe that Nature gave it to him
+thus. As a beginner in Berlin he was quite unsatisfactory. He had the
+alternative given him either to study with great industry or to seek
+another engagement, for his successor had already been selected. Betz
+chose to devote himself zealously to study; he began also to play the
+'cello; he learned to _hear_, and finally raised himself to be one of
+our first singers, in many roles never to be forgotten. Betz knew,
+like myself, many things that to-day are neither taught nor learned.
+
+
+
+
+SECTION XIX
+
+EXTENSION OF THE COMPASS AND EQUALIZATION OF REGISTERS
+
+
+The whole secret of both consists in the proper raising and lowering
+of the soft palate, and the pillars of the fauces connected with it.
+This divides into two resonating divisions the breath coming from the
+source of supply, and forced against the chest, whereby it is put
+under control, as it escapes vocalized from the larynx. It consists
+also in the singer's natural adaptability and skill, in so placing the
+palate and resonance of the head cavities, or keeping them in
+readiness for every tone, as the pitch, strength, and duration of the
+individual tones or series of connected tones, with their propagation
+form, shall demand.
+
+
+
+
+SECTION XX
+
+THE TREMOLO
+
+
+Big voices, produced by large, strong organs, through which the breath
+can flow in a broad, powerful stream, are easily disposed to suffer
+from the tremolo, because the outflow of the breath against the vocal
+cords occurs too _immediately_. The breath is sent directly out from
+the lungs and the body, instead of being driven by the abdominal
+pressure forward against the chest and the controlling apparatus. Not
+till this has been done, should it be admitted, in the smallest
+amounts, and under control to the vocal cords. It does not pause, but
+streams through them without burdening them, though keeping them
+always more or less stretched, in which the muscular power of
+contraction and relaxation assists. Streaming _gently_ out from the
+vocal cords, it is now led, with the support of the tongue, to its
+resonance chambers, all the corners of which it fills up equally. Even
+the strongest vocal cords cannot for any length of time stand the
+uncontrolled pressure of the breath. They lose their tension, and the
+result is the tremolo.
+
+In inhaling, the chest should be raised not at all or but very little.
+(For this reason exercises for the expansion of the chest must be
+practised.) The pressure of the breath _against_ the chest must be
+maintained as long as it is desired to sustain a tone or sing a
+phrase. As soon as the pressure of the abdomen and chest ceases, the
+tone and the breath are at an end. Not till toward the very end of the
+breath, that is, of the tone or the phrase, should the pressure be
+slowly relaxed, and the chest slowly sink.
+
+While I am singing, I must press the breath against the chest
+_evenly_, for in this way alone can it be directed evenly against the
+vocal cords, which is the chief factor in a steady tone and the only
+possible and proper use of the vocal cords.
+
+The uninterrupted control of the breath pressure against the chest
+gives to the tone, as soon as it has found a focal point on the raised
+palate at the attack, the basis, the body, which must be maintained
+even in the softest pianissimo. Control of the breath should never
+cease. The tone should never be made too strong to be kept under
+control, nor too weak to be kept under control. This should be an
+inflexible rule for the singer.
+
+I direct my whole attention to the pressure against the chest, which
+forms the door of the supply chamber of breath. Thence I admit to the
+vocal cords uninterruptedly only just so much as I wish to admit. I
+must not be stingy, nor yet extravagant with it. Besides giving
+steadiness, the pressure against the chest (the controlling apparatus)
+establishes the strength and the duration of the tone. Upon the
+proper control depends the length of the breath, which, without
+interruption, rises from here toward the resonating chambers, and,
+expelled into the elastic form of the resonating apparatus, there must
+obey our will.
+
+[Illustration: Vocal Cords.]
+
+It can now be seen how easily the vocal cords can be injured by an
+uncontrolled current of breath, if it is directed against them in all
+its force. One need only see a picture of the vocal cords to
+understand the folly of exposing these delicate little bands to the
+explosive force of the breath. They cannot be protected too much; and
+also, they cannot be too carefully exercised. They must be spared all
+work not properly theirs; this must be put upon the chest tension
+muscles, which in time learn to endure an out-and-out thump.
+
+Even the vibrato, to which full voices are prone, should be nipped in
+the bud, for gradually the tremolo, and later even worse, is developed
+from it. Life can be infused into the tone by means of the lips--that
+is, in a way that will do no harm. But of that later.
+
+Vibrato is the first stage, tremolo the second; a third and last, and
+much more hopeless, shows itself in flat singing on the upper middle
+tones of the register. Referable in the same way to the overburdening
+of the vocal cords is the excessive straining of the throat muscles,
+which, through continual constriction, lose their power of _elastic_
+contraction and relaxation because pitch and duration of the tone are
+gained in an incorrect way, by forcing. Neither should be forced;
+pitch should be merely maintained, as it were, soaring; strength
+should not be gained by a cramped compression of the throat muscles,
+but by the completest possible filling with breath of the breath-form
+and the resonance chambers, under the government of the controlling
+apparatus.
+
+_Neglect of the head tones (overtones) is paid for dearly._
+
+The more violent exertions are made to force them, and to keep them,
+the worse are the results. For most of the unhappy singers who do
+this, there is but one result: the voice is lost. How pitiful!
+
+If the first and second stages of tremolo are difficult to remedy,
+because the causes are rarely understood and the proper measures to
+take for their removal still more rarely, the repair of the last stage
+of the damage is nothing less than a fight, in which only an
+unspeakable patience can win the victory.
+
+
+
+
+SECTION XXI
+
+THE CURE
+
+
+There are no magic cures for the singer. Only slowly, vibration upon
+vibration, can the true pitch be won back. In the word "soaring" lies
+the whole idea of the work. No more may the breath be allowed to flow
+uncontrolled through the wearied vocal cords; it must be forced
+against the chest, always, as if it were to come directly out thence.
+The throat muscles must lie fallow until they have lost the habit of
+cramped contraction; until the overtones again soar as they should,
+and are kept soaring long, though quite _piano_. At first this seems
+quite impossible, and is indeed very difficult, demanding all the
+patient's energy. But it is possible, and he cannot avoid it, for it
+is the only way to a thorough cure. The patient has an extremely
+disagreeable period to pass through. If he is industrious and careful,
+he will soon find it impossible to sing in his old way; but the new
+way is for the most part quite unfamiliar to him, because his ear
+still hears as it has previously been accustomed to hear. It may be
+that years will pass before he can again use the muscles, so long
+maltreated. But he should not be dismayed at this prospect. If he can
+no longer use his voice in public as a singer, he certainly can as a
+teacher--for _a teacher must be able to sing well_. How should he
+describe to others sensations in singing which he himself never felt?
+Is it not as if he undertook to teach a language that he did not speak
+himself? or an instrument that he did not play himself? When he
+himself does not hear, how shall he teach others to hear?
+
+The degree of the evil, and the patient's skill, naturally have much
+to do with the rapidity of the cure. But one cannot throw off a habit
+of years' standing like an old garment; and every new garment, too, is
+uncomfortable at first. One cannot expect an immediate cure, either of
+himself or of others. If the singer undertakes it with courage and
+energy, he learns to use his voice with conscious understanding, as
+should have been done in the beginning.
+
+And he must make up his mind to it, that even after a good cure, the
+old habits will reappear, like corns in wet weather, whenever he is
+not in good form physically. That should not lead to discouragement;
+persistence will bring success.
+
+As I have already said, singers with disabled voices like best to try
+"magic cures"; and there are teachers and pupils who boast of having
+effected such magic cures in a few weeks or hours.
+
+_Of them I give warning!_ and _equally_, of unprincipled physicians
+who daub around in the larynx, burn it, cut it, and make everything
+worse instead of better.
+
+I cannot comprehend why singers do not unite to brand such people
+publicly and put an end to their doings once for all.
+
+There is no other remedy than a slow, very careful study of the
+_causes_ of the trouble, which in almost all cases consist in lack of
+control of the stream of breath through the vocal cords, and in
+disregard of the head tones, that is, of the overtones; as well as in
+forcing the pitch and power of the tone upon a wrong resonating point
+of the palate, and in constricting the throat muscles. In these points
+almost invariably are all mistakes to be looked for; and in the
+recognition of them the proper means for correcting them are already
+indicated.
+
+The cure is difficult and tedious. It needs an endless patience on the
+part of the sufferer as well as of the physician--that is, of the
+pupil and the _singing teacher_ (the only proper physician for this
+disease)--because the nerves of the head are already sufficiently
+unstrung through the consciousness of their incapacity; yet they
+should be able to act easily and without effort in producing the head
+tones.
+
+The repairing of a voice requires the greatest sympathetic
+appreciation and circumspection on the part of the teacher, who should
+always inspire the pupil with courage; and on the part of the pupil,
+all his tranquillity, nervous strength, and patience, in order to
+reach the desired goal.
+
+_Where there is a will there is a way!_
+
+
+
+
+SECTION XXII
+
+THE TONGUE
+
+
+Since it is the function of the tongue to conduct the column of breath
+above the larynx to the resonance chambers, too much attention cannot
+be given to it and its position, in speaking as well as in singing. If
+it lies too high or too low, it may, by constricting the breath,
+produce serious changes in the tone, making it pinched or even
+shutting it off entirely.
+
+It has an extremely delicate and difficult task to perform. It must be
+in such a position as not to press upon the larynx. Tongue and larynx
+must keep out of each other's way, although they always work in
+cooeperation; but one must not hamper the other, and when one can
+withdraw no farther out of the way, the other must take it upon
+itself to do so. For this reason the back of the tongue must be raised
+high, the larynx stand low.
+
+The tongue must generally form a furrow. With the lowest tones it lies
+relatively flattest, the tip _always_ against and beneath the front
+teeth, so that it can rise in the middle.
+
+As soon as the furrow is formed, the mass of the tongue is put out of
+the way, since it stands high on both sides. It is almost impossible
+to make drawings of this; it can best be seen in the mirror. As soon
+as the larynx is low enough and the tongue set elastically against the
+palate and drawn up behind (see plate _a_), the furrow is formed of
+itself. In pronouncing the vowel _ah_ (which must always be mixed with
+_[=oo]_ and _o_), it is a good idea to think of yawning.
+
+The furrow must be formed in order to allow the breath to resonate
+against the palate beneath the nose, especially in the middle range;
+that is, what a bass and a baritone (whose highest range is not now
+under consideration) would call their high range, all other voices
+their middle.
+
+Without the furrow in the tongue, no tone is perfect in its resonance,
+none can make full use of it. The only exception is the very highest
+head and falsetto tones, which are without any palatal resonance and
+have their place solely in the head cavities. Strong and yet delicate,
+it must be able to fit any letter of the alphabet; that is, help form
+its sound. It must be of the greatest sensitiveness in adapting itself
+to every tonal vibration, it must assist every change of tone and
+letter as quick as a flash and with unerring accuracy; without
+changing its position too soon or remaining too long in it, in the
+highest range it must be able almost to speak out in the air.
+
+With all its strength and firmness this furrow must be of the utmost
+sensitiveness toward the breath, which, as I have often said, must not
+be subjected to the least pressure above the larynx or in the larynx
+itself. Pressure must be limited to the abdominal and chest muscles;
+and this might better be called stress than pressure.
+
+Without hindrance the column of breath, at its upper end like
+diverging rays of light, must fill and expand all the mucous membranes
+with its vibrations equally, diffuse itself through the resonance
+chambers and penetrate the cavities of the head.
+
+When the back of the tongue can rise no higher, the larynx must be
+lowered. This often happens in the highest ranges, and one needs only
+to mingle an _oo_ in the vowel to be sung, which must, however, be
+sounded not forward in the mouth but _behind the nose_. When the
+larynx must stand very low, the tongue naturally must not be _too_
+high, else it would affect the position of the larynx. The mass of the
+tongue must then be disposed of elsewhere; that is, by the formation
+of a furrow (see plate). One must learn to feel and hear it. To keep
+the larynx, the back of the tongue, and the palate always in
+readiness to offer mutual assistance, must become a habit. I feel the
+interplay of tongue and larynx in my own case as shown in the plates.
+
+As soon as we have the tongue under control,--that is, have acquired
+the habit of forming a furrow,--we can use it confidently as a support
+for the breath and the tone, and for vowels.
+
+On its incurving back it holds firmly the vowels; with its tip, many
+of the consonants. With all its elasticity, it must be trained to
+great strength and endurance.
+
+I, for instance, after every syllable, at once jerk my tongue with
+tremendous power back to its normal position in singing; that is, with
+its tip below the front teeth and the base raised [Illustration]. That
+goes on constantly, as quick as a flash. At the same time my larynx
+takes such a position that the tongue cannot interfere with it, that
+is, press upon it. By quickly raising the tongue toward the back, it
+is taken out of the way of the larynx, and the mass of the tongue is
+cleared from the throat. In the middle range, where the tongue or the
+larynx might be too high or too low, the furrow, which is of so much
+importance, is formed, in order to lead the vocalized breath first
+against the front of the palate beneath the nose, then slowly along
+the nose and behind it. Then when the highest point (the peak, which
+is extremely extensible) is reached, the pillars of the fauces are
+lowered, in order to leave the way for the head tones to the head
+cavities entirely free. In doing this, the sides of the tongue are
+raised high. Every tongue should occupy only so much space as it can
+occupy without being a hindrance to the tone.
+
+The bad, bad tongue! one is too thick, another too thin, a third too
+long, a fourth much too short.
+
+_Ladies and gentlemen, these are nothing but the excuses of the
+lazy!_
+
+[Illustration: Red lines denote that with the inspiration of breath:
+I, the diaphragm is sensibly stretched backward; II, enlarges the
+capacity of the chest by the drawing down of its floor; III, and so
+forms the supply chamber for the breath; IV, indicates the pressure of
+the breath against the chest tension muscles; V, the attack.]
+
+
+
+
+SECTION XXIII
+
+PREPARATION FOR SINGING
+
+
+No one can sing properly without first preparing for it, mentally and
+physically, with all the organs concerned in the production of the
+voice.
+
+We have in this to perform three functions, simultaneously:--
+
+_First_, to draw breath quietly, not too deeply; to force the breath
+against the chest and hold it there firmly till the upward and outward
+streaming--that is, singing--begins. (See plate, The Path of the
+Breath.)
+
+_Second_, to raise the soft palate at the same time toward the nose,
+so that the breath remains stationary until the singing begins.
+
+_Third_, to jerk the tongue backward at the same time, its back being
+thus raised, and elastic, ready to meet all the wishes of the
+singer,--that is, the needs of the larynx. The larynx must not be
+pressed either too low or too high, but must work freely. The breath
+is enabled to stream forth from it like a column, whose form is
+moulded above the larynx by the base of the tongue.
+
+When these three functions have been performed, all is ready. Now the
+pitch of the tone is to be considered, as the singing begins.
+
+The consummation (Hoehepunkt) of the tone, above the palate, gives the
+point of attack itself, under the palate.
+
+Now further care must be given that the point of attack on the
+palate--that is, the focal point of the breath--be not subjected to
+pressure, and that the entire supply of breath be not expended upon
+the palatal resonance.
+
+For this the palate must remain elastic, for it has a twofold duty to
+perform. It must not only furnish resistance for the focal point of
+the breath,--except in the very highest head tones,--around which it
+can be diffused; the same resistance, which stands against the stream
+of breath from below, must also afford a firm, pliant, and elastic
+floor for the overtones, which, soaring above the palate, shift, as is
+needed, to or above the hard and soft palate, or are divided in the
+nose, forehead, and head cavities. It can easily be seen how any
+pressure in singing can be dangerous everywhere, and how careful the
+singer is forced to be to avoid such mistakes.
+
+
+
+
+SECTION XXIV
+
+THE POSITION OF THE MOUTH (CONTRACTION OF THE MUSCLES OF SPEECH)
+
+
+What must my sensations be with the muscles of speech? How shall I
+control them?
+
+The best position of the mouth, the means of securing the proper use
+of the muscles of speech and of the vocal organs, is established by
+pronouncing the vowel _[=a]_, not too sharply, in the middle range of
+the voice, and trying to retain the position of the muscles after the
+sound has ceased.
+
+This cannot be done without a _smiling_ position of the mouth,
+consequently with a strong contraction of the muscles of the mouth,
+tongue, and throat, which can be felt to be drawn up as far as the
+ears.
+
+In doing so the tongue--as far as the tip--lies of a pretty nearly
+even height to the back [Illustration], the soft palate soars without
+arching, but rather somewhat depressed over it.
+
+In pronouncing the vowels _[=a]_ and _[=e]_, the bright vowels, the
+full stream of the breath, in the given position, can only partly pass
+between the tongue and the palate. The other part is forced--unless
+the larynx stands too high and can choke it off--above the palate into
+the nasal cavities, to seek its opportunity for resonance.
+
+The path for _[=a]_ and _[=e]_ above the palate is worthy of all
+attention as a place for the overtones of the middle voice. If the
+soft palate, in the lower middle tones, is forced too far toward the
+hard palate, the covered tones are without vibrancy. One must needs
+secure the help of the nose especially, when the palate is sunk
+beneath the nose, by inflating the nostrils and letting air stream in
+and out of them.
+
+I repeat the warning, not to force several tones upon the same
+resonating point, but to see that upon each tone the form necessary
+for succeeding tones is prepared. Neglect of this will sooner or later
+be paid for dearly.
+
+Notwithstanding the strong muscular contraction that the vocal organs
+must undergo in pronouncing the vowel _[=a]_, the breath must be able
+to flow gently and without hindrance through its form, in order
+completely to fill up its resonance chambers. Again, and always,
+attention must be given that in singing, and in speaking as well,
+nothing shall be cramped or held tense, except the pressure of the
+breath against the chest. It is of the utmost importance to maintain
+this position for _all_ vowels, with the least possible perceptible
+modifications.
+
+How can this be done? _A_ and _e_ are bright vowels, must be sung with
+a pleasant, almost smiling, position of the mouth. _U_ and _o_, on the
+contrary, are dark vowels, for which the lips must be drawn into a
+sort of spout. Look at the position of the throat in these vowels: (1)
+as they are usually sung and spoken; (2) as I feel it, in singing, as
+I sing them, and as they must be sung and felt.
+
+
+
+
+SECTION XXV
+
+CONNECTION OF VOWELS
+
+
+How do I connect them with each other? If I wish to connect closely
+together two vowels that lie near to or far from each other, I must
+first establish the muscular contractions for _[=a]_, and introduce
+between the two vowels, whether they lie near together or far apart, a
+very well-defined _y_. Then (supposing, for instance, that I want to
+connect _[=a]_ and _[=e]_) I must join the _[=a]_ closely to the _y_,
+and the _y_ closely to the _[=e]_, so that there is not the least
+resonating space between the two that is not filled during the changes
+in the position of the organs, however carefully this is undertaken.
+There must be no empty space, no useless escape of breath, between any
+two of the sounds.
+
+[Illustration:
+
+oo [=e] o [=a] ah
+
+oo o [=e] y ah y [=a] y]
+
+[Illustration:
+
+Bad. oo [=e] o [=a] ah
+
+Good. oo o [=e] ah [=a]]
+
+[Illustration:
+
+Wrong. oo [=e] o [=a] ah
+
+Right. oo o [=e] ah [=a]]
+
+At first only two, then three and four, and then all the vowels in
+succession must be so practised:--
+
+_A-ye, a-ye-yu, a-ye-yoo-yue, a-ye-yo-yue-yu-ye-yah._
+
+But there must be never more than so much breath at hand as is needed
+to make the vowel and the tone perfect. The more closely the vowels
+are connected with the help of the _y_, the less breath is emitted
+from the mouth unused, the more intimate is the connection of tone,
+and the less noticeable are the changes of the position of the organs
+in relation to each other.
+
+When I pass from _y[=a]-y[=e]_ to _yoo_, I am compelled to develop
+very strongly the muscular contraction of the lips, which are formed
+into a long projecting spout; and this movement cannot be sufficiently
+exaggerated. With every new _y_ I must produce renewed muscular
+contractions of the vocal organs, which gradually, through continuous
+practice, are trained to become almost like the finest, most pliable
+steel, upon which the fullest reliance may be placed. From _yoo_ it
+is best to go to _yue_, that lies still farther forward and requires of
+the lips an iron firmness; then to _yo_, touching slightly on the _e_
+that lies above the _o_; then return to _y[=a]_, and not till then
+going to _ye-ah_, which must then feel thus:--
+
+    e
+oo-o ah-[=a]
+    y
+
+The _y_ is taken under the _ah_, that the word may not slide under;
+for usually the thought of _ah_ relaxes all the organs: the tongue
+lies flat, the larynx becomes unsteady, is without definite position,
+and the palate is not arched and is without firmness. In this way _ah_
+becomes the most colorless and empty vowel of the whole list.
+
+With every change of vowel, or of any other letter, there are changes
+in the position of the organs, since tongue, palate, and larynx must
+take different positions for different sounds.
+
+With _[=a]_ and _[=e]_ the larynx stands higher, the palate is sunk,
+or in its normal position.
+
+With _oo_, _o_, and _ah_ the larynx stands low, the palate is arched.
+
+With _a_, _e_, and _ah_ the lips are drawn back.
+
+With _oo_, _o_, _ue_, and _oe_ they are extended far forward.
+
+The auxiliary sound _y_ connects them all with each other, so that the
+transitions are made quite imperceptibly. Since it is pronounced with
+the tongue drawn high against the palate, it prevents the base of the
+tongue from falling down again.
+
+This should be practised very slowly, that the sensations may be
+clearly discerned, and that no vibration that gives the vowel its
+pitch and duration may escape attention.
+
+The muscular contraction described comprises the chief functions of
+the vocal organs, and is as necessary for singing as the breath is for
+the tone. Year in and year out every singer and pupil must practise it
+in daily exercises as much as possible, on every tone of the vocal
+compass.
+
+In the lowest as well as in the highest range the sharpness of the
+_a_ is lost, as well as the clear definition of all single vowels. _A_
+should be mingled with _oo_, _ah_, and _e_. In the highest range, the
+vowels are merged in each other, because then the principal thing is
+not the vowel, but the high sound.
+
+Even the _thought_ of _[=a]_ and _[=e]_, the latter especially, raises
+the pitch of the tone. The explanation of this is that _[=a]_ and
+_[=e]_ possess sympathetic sounds above the palate that lead the
+breath to the resonance of the head cavities.
+
+For this reason tenors often, in high notes, resort to the device of
+changing words with dark vowels to words with the bright vowel _e_.
+They could attain the same end, without changing the whole word, by
+simply _thinking_ of an _e_.
+
+[Illustration: Pronounce in English [=a] [=e] ueoo oah[=e]]
+
+Without over-exertion, the singer can practise the exercises given
+above twenty times a day, in periods of ten to fifteen minutes each,
+and will soon appreciate the advantage of the muscular strengthening
+they give. They make the voice fresh, not weary, as doubtless many
+will suppose.
+
+What, then, can be expected of an untrained organ? Nothing!
+
+Without daily vocal gymnastics no power of endurance in the muscles
+can be gained. They must be so strong that a great operatic role can
+be repeated ten times in succession, in order that the singer may
+become able to endure the strain of singing in opera houses, in great
+auditoriums, and make himself heard above a great orchestra, without
+suffering for it.
+
+When I, for instance, was learning the part of _Isolde_, I could
+without weariness sing the first act alone six times in succession,
+with expression, action, and a full voice. That was my practice with
+all my roles. After I had rehearsed a role a thousand times in my own
+room, I would go into the empty theatre and rehearse single scenes, as
+well as the whole opera, for hours at a time. That gave me the
+certainty of being mistress of my resonances down to the last note;
+and very often I felt able to begin it all over again. So must it be,
+if one wishes to accomplish anything worth while.
+
+Another end also is attained by the same exercise,--the connection,
+not only of the vowels, but of all letters, syllables, words, and
+phrases. By this exercise the form for the breath, tone, and word, in
+which all the organs are adjusted to each other with perfect
+elasticity, is gradually established. Slowly but surely it assures
+greatest endurance in all the organs concerned in speaking and
+singing, the inseparable connection of the palatal resonance with the
+resonance of the head cavities. In this way is gained perfection in
+the art of singing, which is based, not on chance, but on knowledge;
+and this slow but sure way is the only way to gain it.
+
+By the above-described method all other alphabetical sounds can be
+connected, and exercises can be invented to use with it, which are
+best adapted to correct the mistakes of pupils, at first on one, then
+step by step on two and three connected tones, etc.
+
+At the same time it is necessary to learn to move the tongue freely,
+and with the utmost quickness, by jerking it back, after pronouncing
+consonants, as quick as a flash, into the position in which it
+conducts the breath to the resonating chambers for the vowels. With
+all these movements is connected the power of elastically contracting
+and relaxing the muscles.
+
+
+
+
+SECTION XXVI
+
+THE LIPS
+
+
+Of special importance for the tone and the word are the movements of
+the lips, which are so widely different in the bright and in the dark
+vowels. These movements cannot be too much exaggerated in practising.
+The same strength and elasticity to which we have to train the muscles
+of the throat and tongue must be imparted to the lips, which must be
+as of iron. Upon their cooeperation much of the life of the tone
+depends, and it can be used in many shadings, as soon as one is able
+to exert their power consciously and under the control of the will.
+
+Every vowel, every word, every tone, can be colored as by magic in all
+sorts of ways by the well-controlled play of the lips; can, as it
+were, be imbued with life, as the lips open or close more or less in
+different positions. The lips are the final cup-shaped resonators
+through which the tone has to pass. They can retard it or let it
+escape, can color it bright or dark, and exert a ceaseless and ever
+varying influence upon it long before it ceases and up to its very
+end.
+
+No attempt should be made to use the play of the lips until complete
+mastery of the absolutely even, perfect tone, and of the muscular
+powers, has been acquired. The effect must be produced as a result of
+power and practice; and should not be practised as an effect _per
+se_.
+
+
+
+
+SECTION XXVII
+
+THE VOWEL-SOUND _AH_
+
+
+There is much discussion as to whether _ah_, _oo_, or some other vowel
+is the one best adapted for general practice. In former times practice
+was entirely on the vowel-sound _ah_. The old Italians taught it; my
+mother was trained so, and never allowed her pupils to use any other
+vowel during the first months of their instruction. Later, to be sure,
+every letter, every word, was practised and improved continually, till
+it was correct, and had impressed itself upon the memory, as well as
+the ear, of the pupil for all time.
+
+I explain the matter thus:--
+
+The singer's mouth should always make an agreeable impression. Faces
+that are forever grinning or showing fish mouths are disgusting and
+wrong.
+
+The pleasing expression of the mouth requires the muscular
+contractions that form the bright vowel _ah_.
+
+Most people who are not accustomed to using their vocal resonance
+pronounce the _ah_ quite flat, as if it were the vowel-sound lying
+lowest. If it is pronounced with the position of the mouth belonging
+to the bright vowels, it has to seek its resonance, in speaking as
+well as in singing, in the same place as the dark vowels, on the
+high-arched palate. To permit this, it must be mingled with _oo_. The
+furrows in the tongue must also be formed, just as with _oo_ and _o_,
+only special attention must be given that the back of the tongue does
+not fall, but remains high, as in pronouncing _[=a]_. In this way _ah_
+comes to lie between _oo-o'ah'y[=a]_, and forms at the same time the
+connection between the bright and the dark vowels, and the reverse.
+
+For this reason it was proper that _ah_ should be preferred as the
+practice vowel, as soon as it was placed properly between the two
+extremes, and had satisfied all demands. I prefer to teach it, because
+its use makes all mistakes most clearly recognizable. It is the most
+difficult vowel. If it is well pronounced, or sung, it produces the
+necessary muscular contractions with a pleasing expression of the
+mouth, and makes certain a fine tone color by its connection with _oo_
+and _o_. If the _ah_ is equally well formed in all ranges of the
+voice, a chief difficulty is mastered.
+
+Those who have been badly taught, or have fallen into bad ways, should
+practise the vocal exercise I have given above, with _ya-ye-yah_,
+etc., slowly, listening to themselves carefully. Good results cannot
+fail; it is an infallible means of improvement.
+
+Italians who sing well never speak or sing the vowel sound _ah_
+otherwise than mixed, and only the neglect of this mixture could have
+brought about the decadence of the Italian teaching of song. In
+Germany no attention is paid to it. The _ah_, as sung generally by
+most Italians of the present day, quite flat, sounds commonplace,
+almost like an affront. It can range itself, that is connect itself,
+with no other vowel, makes all vocal connection impossible, evolves
+very ugly registers; and, lying low in the throat, summons forth no
+palatal resonance. The power of contraction of the muscles of speech
+is insufficient, and this insufficiency misleads the singer to
+constrict the throat muscles, which are not trained to the endurance
+of it; thereby further progress is made impossible. In the course of
+time the tone becomes flat at the transitions. The fatal tremolo is
+almost always the result of this manner of singing.
+
+Try to sing a scale upward on _ah_, placing the tongue and muscles of
+speech at the same time on _[=a]_, and you will be surprised at the
+agreeable effect. Even the thought of it alone is often enough,
+because the tongue involuntarily takes the position of its own
+accord.
+
+I remember very well how Mme. Desiree Artot-Padilla, who had a low
+mezzo-soprano voice, used to toss off great coloratura pieces,
+beginning on the vowel-sound _ah_, and then going up and down on _a_,
+_ee_, _aueoah_. At the time I could not understand why she did it; now
+I know perfectly,--because it was easier for her. The breath is
+impelled against the cavities of the head, the head tones are set into
+action.
+
+Behind the _a_ position there must be as much room provided as is
+needed for all the vowels, with such modifications as each one
+requires for itself. The matter of chief importance is the position of
+the tongue _in_ the throat, that it shall not be in the way of the
+larynx, which must be able to move up and down, even though very
+slightly, without hindrance.
+
+All vowels must be able to flow into each other; the singer must be
+able to pass from one to another without perceptible alteration, and
+back again.
+
+
+
+
+SECTION XXVIII
+
+ITALIAN AND GERMAN
+
+
+How easy it is for the Italians, who have by nature, through the
+characteristics of their native language, all these things which
+others must gain by long years of practice! A single syllable often
+unites three vowels; for instance, "tuoi" (tuoy[=e]), "miei"
+(myeay[=e]), "muoja," etc.
+
+The Italians mingle all their vowels. They rub them into and color
+them with each other. This includes a great portion of the art of
+song, which in every language, with due regard to its peculiar
+characteristics, must be learned by practice.
+
+To give only a single example of the difficulty of the German words,
+with the everlasting consonant endings to the syllables, take the
+recitative at the entrance of Norma:--
+
+"Wer laesst hier Aufruhrstimme_n_, Kriegsruf ertoene_n_, wollt Ihr die
+Goetter zwinge_n_, Eurem Wahnwitz zu froehne_n_? Wer wagt vermesse_n_,
+gleich der Propheti_n_ der Zukunft Nacht zu lichte_n_, wollt Ihr der
+Goetter Pla_n_ vorschnell vernichte_n_? Nicht Menschenkraft Koenne_n_
+die Wirre_n_ dieses Landes schlichte_n_."
+
+Twelve endings on _n_!
+
+"Sediziosi voci, voci di guerra, avvi [Transcriber's Note: corrected
+"avoi" in original] chi alzar si attenta presso all'ara del Dio! V'ha
+chi presume dettar responsi alla vegente Norma, e di Roma affrettar il
+fato arcano. Ei non dipende, no, non dipende da potere umano!"
+
+From the Italians we can learn the connection of the vowels, from the
+French the use of the nasal tone. The Germans surpass the others in
+their power of expressiveness. But he who would have the right to call
+himself an artist must unite all these things; the _bel canto_, that
+is, beautiful--I might say good--singing, and all the means of
+expression which we cultivated people need to interpret master works
+of great minds, should afford the public ennobling pleasure.
+
+A tone full of life is to be produced only by the skilful mixture of
+the vowels, that is, the unceasing leaning of one upon the others,
+without, however, affecting any of its characteristics. This means, in
+reality, only the complete use of the resonance of the breath, since
+the mixture of the vowels can be obtained only through the elastic
+conjunction of the organs and the varying division of the stream of
+breath toward the palatal resonance, or that of the cavities of the
+head, or the equalization of the two.
+
+The larynx must rise and descend unimpeded by the tongue, soft palate
+and pillars of the fauces rise and sink, the soft palate always able
+more or less to press close to the hard. Strong and elastic
+contractions imply very pliable and circumspect relaxation of the
+same.
+
+I think that the feeling I have of the extension of my throat comes
+from the very powerful yet very elastic contraction of my muscles,
+which, though feeling always in a state of relaxability, appear to me
+like flexible steel, of which I can demand everything,--because never
+too much,--and which I exercise daily. Even in the entr'actes of grand
+operas I go through with such exercises; for they refresh instead of
+exhausting me.
+
+The unconstrained cooeperation of all the organs, as well as their
+individual functions, must go on elastically without any pressure or
+cramped action. Their interplay must be powerful yet supple, that the
+breath which produces the tone may be diffused as it flows from one to
+another of the manifold and complicated organs (such as the ventricles
+of Morgagni), supporting itself on others, being caught in still
+others, and finding all in such a state of readiness as is required in
+each range for each tone. Everything must be combined in the right way
+as a matter of habit.
+
+The voice is equalized by the proper ramification of the breath and
+the proper connection of the different resonances.
+
+The tone is colored by the proper mixture of vowels; _oo_, _o_, and
+_ah_ demanding more palatal resonance and a lower position of the
+larynx, _a_ and _e_ more resonance of the head cavities and a higher
+position of the larynx. With _oo_, _o_, _ue_, and _ah_ the palate is
+arched higher (the tongue forming a furrow) than with _[=a]_, _[=e]_,
+and _ue_, where the tongue lies high and flat.
+
+There are singers who place the larynx too low, and, arching the
+palate too high, sing too much toward _oo_. Such voices sound very
+dark, perhaps even hollow; they lack the interposition of the
+_[=a]_,--that is, the larynx is placed too low.
+
+On the other hand, there are others who press it upward too high;
+their _a_ position is a permanent one. Such voices are marked by a
+very bright, sharp quality of tone, often like a goat's bleating.
+
+Both are alike wrong and disagreeable. The proper medium between them
+must be gained by sensitive training of the ear, and a taste formed by
+the teacher through examples drawn from his own singing and that of
+others.
+
+If we wish to give a noble expression to the tone and the word, we
+must mingle its vocal sound, if it is not so, with _o_ or _oo_. If we
+wish to give the word merely an agreeable expression, we mingle it
+with _ah_, _[=a]_, and _[=e]_. That is, we must use all the qualities
+of tonal resonance, and thus produce colors which shall benefit the
+tone and thereby the word and its expression.
+
+Thus a single tone may be taken or sung in many different ways. In
+every varying connection, consequently, the singer must be able to
+change it according to the expression desired. But as soon as it is a
+question of a _musical phrase_, in which several tones or words, or
+tones alone, are connected, the law of progression must remain in
+force; expression must be sacrificed, partly at least, to the beauty
+of the musical passage.
+
+If he is skilful enough, the singer can impart a certain expression of
+feeling to even the most superficial phrases and coloratura passages.
+Thus, in the coloratura passages of Mozart's arias, I have always
+sought to gain expressiveness by _crescendi_, choice of significant
+points for breathing, and breaking off of phrases. I have been
+especially successful with this in the _Entfuehrung_, introducing a
+tone of lament into the first aria, a heroic dignity into the second,
+through the coloratura passages. Without exaggerating petty details,
+the artist must exploit all the means of expression that he is
+justified in using.
+
+
+
+
+SECTION XXIX
+
+AUXILIARY VOWELS
+
+
+Like the auxiliary verbs "will" and "have," _[=a]_, _[=e]_, and _oo_
+are auxiliary vowels, of whose aid we are constantly compelled to
+avail ourselves. It will perhaps sound exaggerated when I present an
+example of this, but as a matter of fact pronunciation is consummated
+in this way; only, it must not become noticeable. The method seems
+singular, but its object is to prevent the leaving of any empty
+resonance space, and to obviate any interruptions that could affect
+the perfection of the tone.
+
+For example, when I wish to sing the word "Fraeulein," I must first,
+and before all else, think of the pitch of the tone, before I attack
+the _f_. With the _f_, the tone must be there already, _before_ I have
+pronounced it; to pass from the _f_ to the _r_ I must summon to my
+aid the auxiliary vowel _oo_, in order to prevent the formation of any
+unvocalized interstices in the sound. The _r_ must not now drop off,
+but must in turn be joined to the _oo_, while the tongue should not
+drop down behind, [Illustration] but should complete the vibrations
+thus, [Illustration] in a straight line. (See plate.)
+
+[Illustration]
+
+It is very interesting to note how much a word can gain or lose in
+fulness and beauty of tone. Without the use of auxiliary vowels no
+connection of the resonance in words can be effected; there is then no
+beautiful tone in singing, only a kind of hacking. Since it must be
+quite imperceptible, the use of auxiliary vowels must be very
+artistically managed, and is best practised in the beginning very
+slowly on single tones and words, then proceeding with great care to
+two tones, two syllables, and so on. In this way the pupil learns to
+_hear_. But he must learn to hear very slowly and for a long time,
+until there is no failure of vibration in the tone and word, and it is
+all so impressed upon his memory that it can never be lost. The
+auxiliary vowels must always be present, but the listener should be
+able to hear, from the assistance of the _oo_, only the warmth and
+nobility of the tone, from the _a_ and _e_ only the carrying power and
+brilliancy of it.
+
+
+
+
+SECTION XXX
+
+RESONANT CONSONANTS
+
+
+_K_, _l_, _m_, _n_, _p_, _s_, and _r_ at the end of a word or syllable
+must be made resonant by joining to the end of the word or syllable a
+rather audible _[)e]_ (_eh_); for instance, Wandel^e, Gretel^e,
+etc.
+
+A thing that no one teaches any longer, or knows or is able to do, a
+thing that only Betz and I knew, and with me will probably disappear
+entirely, is the dividing and ending of syllables that must be
+effected under certain conditions. It may have originated with the
+Italian school.
+
+I was taught it especially upon double consonants. When two come
+together, they must be divided; the first, as in Him-mel, being
+sounded dull, and without resonance, the syllable and tone being kept
+as nasal as possible, the lips closed, and a pause being made between
+the two syllables; not till then is the second syllable pronounced,
+with a new formation of the second consonant.
+
+And this is done, not only in case of a doubling of one consonant, but
+whenever two consonants come together to close the syllable; for
+instance, win-ter, dring-en, kling-en, bind-en; in these the nasal
+sound plays a specially important part.
+
+The tediousness of singing without proper separation of the syllables
+is not appreciated till it has been learned how to divide the
+consonants. The nasal close of itself brings a new color into the
+singing, which must be taken into account; and moreover, the word is
+much more clearly intelligible, especially in large auditoriums, where
+an appreciable length of time is needed for it to reach the listener.
+By the nasal close, also, an uninterrupted connection is assured
+between the consonant and the tone, even if the latter has to cease,
+apparently, for an instant.
+
+I teach all my pupils thus. But since most of them consider it
+something unheard of to be forced to pronounce in this way, they very
+rarely bring it to the artistic perfection which alone can make it
+effective. Except from Betz, I have never heard it from any one. After
+me no one will teach it any more. I shall probably be the last one. A
+pity!
+
+
+
+
+SECTION XXXI
+
+PRACTICAL EXERCISES
+
+
+The practical study of singing is best begun with single sustained
+tones, and with preparation on the sound of _ah_ alone, mingled with
+_o_ and _oo_. A position as if one were about to yawn helps the tongue
+to lie in the right place.
+
+In order not to weary young voices too much, it is best to begin in
+the middle range, going upward first, by semitones, and then, starting
+again with the same tone, going downward. All other exercises begin in
+the lower range and go upward.
+
+The pupil must first be able to make a single tone good, and judge it
+correctly, before he should be allowed to proceed to a second. Later,
+single syllables or words can be used as exercises for this.
+
+The position of the mouth and tongue must be watched in the mirror.
+The vowel _ah_ must be mingled with _o_ and _oo_, and care must be
+taken that the breath is forced strongly against the chest, and felt
+attacking here and on the palate at the same time. Begin _piano_, make
+a long _crescendo_, and gradually return and end on a well-controlled
+_piano_. My feeling at the attack is as shown in the plate.
+
+At the same instant that I force the breath against the chest, I place
+the tone _under_ its highest point on the palate, and let the
+overtones soar above the palate--the two united in one thought. Only
+in the lowest range can the overtones, and in the highest range the
+undertones (resonance of the head cavities and of the palate), be
+dispensed with.
+
+With me the throat never comes into consideration; I feel absolutely
+nothing of it, at most only the breath gently streaming through it. A
+tone should never be forced; _never press_ the breath against the
+resonating chambers, but only against the chest; and NEVER hold it
+back. The organs should not be cramped, but should be allowed to
+perform their functions elastically.
+
+The contraction of the muscles should never exceed their power to
+relax. A tone must always be sung, whether strong or soft, with an
+easy, conscious power. Further, before all things, sing always with
+due regard to the pitch.
+
+In this way the control of the ear is exercised over the pitch,
+strength, and duration of the tone, and over the singer's strength and
+weakness, of which we are often forced to make a virtue. In short, one
+learns to recognize and to produce a perfect tone.
+
+[Illustration:
+
+Attack.
+
+Red lines denote that with the inspiration of breath: I, the diaphragm
+is sensibly stretched backward; II, enlarges the capacity of the chest
+by the drawing down of its floor; III, and so forms the supply chamber
+for the breath; IV, indicates the pressure of the breath against the
+chest tension muscles; V, the attack.]
+
+In all exercises go as low and as high as the voice will allow without
+straining, and always make little pauses to rest between them, even if
+you are not tired, in order to be all the fresher for the next one.
+With a certain amount of skill and steady purpose the voice increases
+its compass, and takes the proper range, easiest to it by nature.
+The pupil can see then how greatly the compass of a voice can be
+extended. For amateurs it is not necessary; but it is for every one
+who practises the profession of a singer in public.
+
+For a second exercise, sing connectedly two half-tones, slowly, on one
+or two vowels, bridging them with the auxiliary vowels and the _y_ as
+the support of the tongue, etc.
+
+Every tone must seek its best results from all the organs concerned in
+its production; must possess power, brilliancy, and mellowness in
+order to be able to produce, before leaving each tone, the propagation
+form for the next tone, ascending as well as descending, and make it
+certain.
+
+No exercise should be dropped till every vibration of every tone has
+clearly approved itself to the ear, not only of the teacher, but also
+of the pupil, as _perfect_.
+
+It takes a long time to reach the full consciousness of a tone. After
+it has passed the lips it must be diffused outside, before it can
+come to the consciousness of the listener as well as to that of the
+singer himself. So practise _singing_ slowly and _hearing_ slowly.
+
+
+
+
+SECTION XXXII
+
+THE GREAT SCALE
+
+
+This is the most necessary exercise for all kinds of voices. It was
+taught to my mother; she taught it to all her pupils and to us. But
+_I_ am probably the only one of them all who practises it faithfully!
+I do not trust the others. As a pupil one must practise it twice a
+day, as a professional singer at least once.
+
+[Music illustration]
+
+The breath must be well prepared, the expiration still better, for the
+duration of these five and four long tones is greater than would be
+supposed. The first tone must be attacked not too _piano_, and sung
+only so strongly as is necessary to reach the next one easily without
+further crescendo, while the propagation form for the next tone is
+produced, and the breath wisely husbanded till the end of the phrase.
+
+The first of each of the phrases ends nasally in the middle range, the
+second toward the forehead and the cavities of the head. The lowest
+tone must already be prepared to favor the resonance of the head
+cavities, by thinking of _[=a]_, consequently placing the larynx high
+and maintaining the resonating organs in a _very_ supple and elastic
+state. In the middle range, _ah_ is mingled particularly with _oo_,
+that the nose may be reached; further, the auxiliary vowel _e_ is
+added to it, which guides the tone to the head cavities. In descending
+the attack must be more concentrated, as the tone is slowly directed
+toward the nose on _oo_ or _o_, to the end of the figure.
+
+When _oo_, _a_, and _e_ are auxiliary vowels, they need not be plainly
+pronounced. (They form an exception in the diphthongs, "Trauuum,"
+"Leiiid," "Lauuune," "Feuyer," etc.) As auxiliary vowels they are only
+means to an end, a bridge, a connection from one thing to another.
+They can be taken anywhere with any other sound; and thence it may be
+seen how elastic the organs can be when they are skilfully managed.
+
+The chief object of the great scale is to secure the pliant, sustained
+use of the breath, precision in the preparation of the propagation
+form, the proper mixture of the vowels which aid in placing the organs
+in the right position for the tone, to be changed for every different
+tone, although imperceptibly; further, the intelligent use of the
+resonance of the palate and head cavities, especially the latter,
+whose tones, soaring above everything else, form the connection with
+the nasal quality for the whole scale.
+
+The scale must be practised without too strenuous exertion, but not
+without power, gradually extending over the entire compass of the
+voice; and that is, if it is to be perfect, over a compass of two
+octaves. These two octaves will have been covered, when, advancing the
+starting-point by semitones, the scale has been carried up through an
+entire octave. So much every voice can finally accomplish, even if the
+high notes must be very feeble.
+
+The great scale, properly elaborated in practice, accomplishes
+wonders: it equalizes the voice, makes it flexible and noble, gives
+strength to all weak places, operates to repair all faults and breaks
+that exist, and controls the voice to the very heart. Nothing escapes
+it.
+
+By it ability as well as inability is brought to light--something that
+is extremely unpleasant to those without ability. In my opinion it is
+the ideal exercise, but the most difficult one I know. By devoting
+forty minutes to it every day, a consciousness of certainty and
+strength will be gained that ten hours a day of any other exercise
+cannot give.
+
+This should be the chief test in all conservatories. If I were at the
+head of one, the pupils should be allowed for the first three years to
+sing at the examinations only _difficult_ exercises, like this great
+scale, before they should be allowed to think of singing a song or an
+aria, which I regard only as cloaks for incompetency.
+
+For teaching me this scale--this guardian angel of the voice--I cannot
+be thankful enough to my mother. In earlier years I used to like to
+express myself freely about it. There was a time when I imagined that
+it strained me. My mother often ended her warnings at my neglect of it
+with the words, "You will be very sorry for it!" And I was very sorry
+for it. At one time, when I was about to be subjected to great
+exertions, and did not practise it every day, but thought it was
+enough to sing coloratura fireworks, I soon became aware that my
+transition tones would no longer endure the strain, began easily to
+waver, or threatened even to become too flat. The realization of it
+was terrible! It cost me many, many years of the hardest and most
+careful study; and it finally brought me to realize the necessity of
+exercising the vocal organs continually, and in the proper way, if I
+wished always to be able to rely on them.
+
+Practice, and especially the practice of the great, slow scale, is the
+only cure for all injuries, and at the same time the most excellent
+means of fortification against all over-exertion. I sing it every day,
+often twice, even if I have to sing one of the greatest roles in the
+evening. I can rely absolutely on its assistance.
+
+If I had imparted nothing else to my pupils but the ability to sing
+this one great exercise well, they would possess a capital fund of
+knowledge which must infallibly bring them a rich return on their
+voices. I often take fifty minutes to go through it only once, for I
+let no tone pass that is lacking in any degree in pitch, power, and
+duration, or in a single vibration of the propagation form.
+
+
+
+
+SECTION XXXIII
+
+VELOCITY
+
+
+Singers, male and female, who are lacking velocity and the power of
+trilling, seem to me like horses without tails. Both of these things
+belong to the art of song, and are inseparable from it. It is a matter
+of indifference whether the singer has to use them or not; he must be
+able to. The teacher who neither teaches nor can teach them to his
+pupils is a _bad teacher_; the pupil who, notwithstanding the urgent
+warnings of his teacher, neglects the exercises that can help him to
+acquire them, and fails to perfect himself in them, is a _bungler_.
+There is no excuse for it but lack of talent, or laziness; and neither
+has any place in the higher walks of art.
+
+To give the voice velocity, practise first slowly, then faster and
+faster, figures of five, six, seven, and eight notes, etc., upward
+and downward.
+
+If one has well mastered the great, slow scale, with the nasal
+connection, skill in singing rapid passages will be developed quite of
+itself, because they both rest on the same foundation, and without the
+preliminary practice can never be understood.
+
+Put the palate into the nasal position, the larynx upon _oe_; attack
+the lowest tone of the figure with the thought of the highest; force
+the breath, as it streams very vigorously forth from the larynx,
+toward the nose, but allow the head current entire freedom, without
+entirely doing away with the nasal quality; and then run up the scale
+with great firmness.
+
+In descending, keep the form of the highest tone, even if there should
+be eight to twelve tones in the passage, so that the scale slides
+down, not a pair of stairs, but a smooth track, the highest tone
+affording, as it were, a guarantee that on the way there shall be no
+impediment or sudden drop. The resonance form, kept firm and tense,
+must adapt itself with the utmost freedom to the thought of every
+tone, and with it, to the breath. The pressure of the breath against
+the chest must not be diminished, but must be unceasing.
+
+To me it is always as if the pitch of the highest tone were already
+contained in the lowest, so strongly concentrated upon the whole
+figure are my thoughts at the attack of a single tone. By means of
+_ah-e-[=a]_, larynx, tongue, and palatal position on the lowest tone
+are in such a position that the vibrations of breath for the highest
+tones are already finding admission into the head cavities, and as far
+as possible are in sympathetic vibration there.
+
+The higher the vocal figures go the more breath they need, the less
+can the breath and the organs be pressed. The higher they are, the
+more breath must stream forth from the epiglottis; therefore the
+_[=a]_ and the thought of _e_, which keep the passages to the head
+open. But because there is a limit to the scope of the movement of
+larynx and tongue, and they cannot rise higher and higher with a
+figure that often reaches to an immense height, the singer must resort
+to the aid of the auxiliary vowel _oo_, in order to lower the larynx
+and so make room for the breath:
+
+[Music illustration]
+
+A run or any other figure must never sound thus:
+
+[Music illustration]
+
+but must be nasally modified above, and tied; and because the breath
+must flow out unceasingly in a powerful stream from the vocal cords,
+an _h_ can only be put in beneath, which makes us sure of this
+powerful streaming out of the breath, and helps only the branch
+stream of breath into the cavities of the head. Often singers hold the
+breath, concentrated on the nasal form, firmly on the lowest tone of a
+figure, and, without interrupting this nasal form, or the head tones,
+that is, the breath vibrating in the head cavities, finish the figure
+alone. When this happens the muscular contractions of the throat,
+tongue, and palate are very strong.
+
+[Music illustration: L'oiselet. Chopin-Viardat]
+
+The turn, too, based on the consistent connection of the tonal figure
+with the nasal quality,--which is obtained by pronouncing the _oo_
+toward the nose,--and firmly held there, permits no interruption for
+an instant to the vowel sound.
+
+How often have I heard the _ha-ha-ha-haa_, etc.,--a wretched tumbling
+down of different tones, instead of a smooth decoration of the
+cantilena. Singers generally disregard it, because no one can do it
+any more, and yet even to-day it is of the greatest importance. (See
+_Tristan und Isolde_.)
+
+The situation is quite the same in regard to the appoggiatura. In
+this the resonance is made nasal and the flexibility of the
+larynx,--which, without changing the resonance, moves quickly up and
+down--accomplishes the task alone. Here, too, it can almost be
+imagined that the _thought_ alone is enough, for the connection
+of the two tones cannot be too close. But this must be practised, and
+done _consciously_.
+
+[Music illustration: Adelaide, by Beethoven
+
+A-bend-lueft-chen im zar-ten Lau-be flue-stern]
+
+[Transcriber's Note: Corrected "L'au-be" in original to "Lau-be"]
+
+
+
+
+SECTION XXXIV
+
+TRILL
+
+
+There still remains the trill, which is best practised in the
+beginning as follows:--
+
+[Music illustration]
+
+The breath is led very far back against the head cavities by the
+_[=a]_, the larynx kept as stiff as possible and placed high. Both
+tones are connected as closely, as heavily as possible, upward
+nasally, downward _on_ the larynx, for which the _y_, again, is
+admirably suited. They must be attacked as high as possible, and very
+strongly. The trill exercise must be practised almost as a scream.
+The upper note must always be strongly _accented_. The exercise is
+practised with an even strength, without decrescendo to the end; the
+breath streams out more and more strongly, uninterruptedly to the
+finish.
+
+Trill exercises must be performed with great energy, on the whole
+compass of the voice. They form an exception to the rule in so far
+that in them more is given to the throat to do--always, however, under
+the control of the chest--than in other exercises. That relates,
+however, to the muscles.
+
+The breath vibrates _above_ the larynx, but does not stick in it,
+consequently this is not dangerous.
+
+The exercise is practised first on two half, then on two whole, tones
+of the same key (as given above), advancing by semitones, twice a day
+on the entire compass of the voice. It is exhausting because it
+requires great energy; but for the same reason it gives strength.
+Practise it first as slowly and vigorously as the strength of the
+throat allows, then faster and faster, till one day the trill
+unexpectedly appears. With some energy and industry good results
+should be reached in from six to eight weeks, and the larynx should
+take on the habit of performing its function by itself. This function
+gradually becomes a habit, so that it seems as if only _one_ tone were
+attacked and held, and as if the second tone simply vibrated with it.
+As a matter of fact, the larynx will have been so practised in the
+minute upward and downward motion, that the singer is aware only of
+the vibrations of the breath that lie _above_ it, while he remains
+mindful all the time only of the pitch of the upper note.
+
+One has the feeling then as of singing or holding only the _lower_
+tone (which must be placed very high), while the upper one vibrates
+with it simply through the habitude of the accentuation. The union of
+the two then comes to the singer's consciousness as if he were
+singing the lower note somewhat too high, halfway toward the upper
+one. This is only an aural delusion, produced by the high vibrations.
+But the trill, when fully mastered, should always be begun, as in the
+exercise, on the _upper_ note.
+
+Every voice must master the trill, after a period, longer or shorter,
+of proper practice. Stiff, strong voices master it sooner than small,
+weak ones. I expended certainly ten years upon improving it, because
+as a young girl I had so very little strength, although my voice was
+very flexible in executing all sorts of rapid passages.
+
+To be able to use it anywhere, of course, requires a long time and
+much practice. For this reason it is a good plan to practise it on
+syllables with different vowels, such as can all be supported on
+_[=a]_, and on words, as soon as the understanding needed for this is
+in some degree assured.
+
+If the larynx has acquired the habit properly, the trill can be
+carried on into a _piano_ and _pianissimo_ and prolonged almost
+without end with _crescendi_ and _decrescendi_, as the old Italians
+used to do, and as _all Germans_ do who have learned anything.
+
+
+
+
+SECTION XXXV
+
+HOW TO HOLD ONE'S SELF WHEN PRACTISING
+
+
+In practising the singer should always stand, if possible, before a
+large mirror, in order to be able to watch himself closely. He should
+stand upright, quietly but not stiffly, and avoid everything that
+looks like restlessness. The hands should hang quietly, or rest
+lightly on something, without taking part in the interpretation of the
+expression. The first thing needed is to bring the body under control,
+that is, to remain quiet, so that later, in singing, the singer can do
+everything intentionally.
+
+The pupil must always stand in such a way that the teacher can watch
+his face, as well as his whole body. Continual movements of the
+fingers, hands, or feet are not permissible.
+
+The body must serve the singer's purposes freely and must acquire no
+bad habits. The singer's self-possession is reflected in a feeling of
+satisfaction on the part of the listener. The quieter the singer or
+artist, the more significant is every expression he gives; the fewer
+motions he makes, the more importance they have. So he can scarcely be
+quiet enough. Only there must be a certain accent of expression in
+this quietude, which cannot be represented by indifference. The
+quietude of the artist is a reassurance for the public, for it can
+come only from the certainty of power and the full command of his task
+through study and preparation and perfect knowledge of the work to be
+presented. An artist whose art is based on power cannot appear other
+than self-possessed and certain of himself. An evident uneasiness is
+always inartistic, and hence does not belong where art is to be
+embodied. All dependence upon tricks of habit creates nervousness and
+lack of flexibility.
+
+Therefore the singer must accustom himself to quietude in practising,
+and make his will master of his whole body, that later he may have
+free command of all his movements and means of expression.
+
+The constant playing of single tones or chords on the piano by the
+teacher during the lesson is wrong, and every pupil should request its
+discontinuance. The teacher can hear the pupil, but the latter cannot
+hear himself, when this is done; and yet it is of the utmost
+importance that he should learn to hear himself. I am almost driven
+distracted when teachers bring me their pupils, and drum on the piano
+as if possessed while they sing. Pupils have the same effect on me
+when they sit and play a dozen chords to one long note.
+
+Do they sit in the evening when they sing in a concert?
+
+Do they hear themselves, when they do this? Unfortunately, I cannot
+hear them.
+
+Poor pupils!
+
+It is enough for a musical person to strike a single note on the piano
+when he practises alone, or perhaps a common chord, after which the
+body and hands should return to their quiet natural position. Only in
+a standing posture can a free deep breath be drawn, and mind and body
+be properly prepared for the exercise or the song to follow.
+
+It is also well for pupils to form sentences with the proper number of
+syllables upon which to sing their exercises, so that even such
+exercises shall gradually gain a certain amount of expressiveness.
+Thus the exercises will form pictures which must be connected with the
+play of the features, as well as with an inner feeling, and thus will
+not become desultory and soulless and given over to indifference. Of
+course not till the mere tone itself is brought under complete
+control, and uncertainty is no longer possible, can the horizon of the
+pupil be thus widened without danger.
+
+Only when a scene requires that a vocal passage be sung kneeling or
+sitting must the singer practise it in his room long before the
+performance and at all rehearsals, in accordance with dramatic
+requirements of the situation. _Otherwise the singer should always_
+STAND. We must also look out for unaccustomed garments that may be
+required on the stage, and rehearse in them; for instance, hat,
+helmet, hood, cloak, etc. Without becoming accustomed to them by
+practice, the singer may easily make himself ridiculous on the stage.
+Hence comes the absurdity of a Lohengrin who cannot sing with a
+helmet, another who cannot with a shield, a third who cannot with
+gauntlets; a Wanderer who cannot with the big hat, another who cannot
+with the spear, a Jose who cannot with the helmet, etc. All these
+things must be practised before a mirror until the requirements of a
+part or its costume become a habit. To attain this, the singer must be
+completely master of his body and all his movements.
+
+It must be precisely the same with the voice. The singer must be quite
+independent of bad habits in order consciously to exact from it what
+the proper interpretation of the work to be performed requires.
+
+He should practise only so long as can be done without weariness.
+After every exercise he should take a rest, to be fresh for the next
+one. After the great scale he should rest _at least_ ten minutes; and
+these resting times must be observed as long as one sings.
+
+Long-continued exertion should not be exacted of the voice at first;
+even if the effects of it are not immediately felt, a damage is done
+in some way. In this matter pupils themselves are chiefly at fault,
+because they cannot get enough, as long as they take pleasure in it.
+
+For this reason it is insane folly to try to sing important roles on
+the stage after one or two years of study; it may perhaps be endured
+for one or two years without evil results, but it can never be
+carried on indefinitely.
+
+Agents and managers commit a crime when they demand enormous exertions
+of such young singers. The rehearsals, which are held in abominably
+bad air, the late hours, the irregular life that is occasioned by
+rehearsals, the strain of standing around for five or six hours in a
+theatre,--all this is not for untrained young persons. No woman of
+less than twenty-four years should sing soubrette parts, none of less
+than twenty-eight years second parts, and none of less than
+thirty-five years dramatic parts; that is early enough. By that time
+proper preparation can be made, and in voice and person something can
+be offered worth while. And our fraternity must realize this sooner or
+later. In that way, too, they will learn more and be able to do more,
+and fewer sins will be committed against the art of song by the
+incompetent.
+
+
+
+
+SECTION XXXVI
+
+CONCERNING EXPRESSION
+
+
+When we wish to study a role or a song, we have first to master the
+intellectual content of the work. Not till we have made ourselves a
+clear picture of the whole should we proceed to elaborate the details,
+through which, however, the impression of the whole should never be
+allowed to suffer. The complete picture should always shine out
+through all. If it is too much broken into details, it becomes a thing
+of shreds and patches.
+
+So petty accessories must be avoided, that the larger outline of the
+whole picture shall not suffer. The complete picture must ever claim
+the chief interest; details should not distract attention from it. In
+art, subordination of the parts to the whole is an art of itself.
+Everything must be fitted to the larger lineaments that should
+characterize a masterpiece.
+
+A word is an idea; and not only the idea, but how that idea in color
+and connection is related to the whole, must be expressed. Therein is
+the fearsome magic that Wagner has exercised upon me and upon all
+others, that draws us to him and lets none escape its spell. That is
+why the elaboration of Wagner's creations seems so much worth while to
+the artist. Every elaboration of a work of art demands the sacrifice
+of some part of the artist's ego, for he must mingle the feelings set
+before him for portrayal with his own in his interpretation, and thus,
+so to speak, lay bare his very self. But since we must impersonate
+human beings, we may not spare ourselves, but throw ourselves into our
+task with the devotion of all our powers.
+
+
+
+
+SECTION XXXVII
+
+BEFORE THE PUBLIC
+
+
+In the wide reaches of the theatre it is needful to give an
+exaggeration to the expression, which in the concert hall, where the
+forms of society rule, must be entirely abandoned. And yet the picture
+must be presented by the artist to the public from the very first
+word, the very first note; the mood must be felt in advance. This
+depends partly upon the bearing of the singer and the expression of
+countenance he has during the prelude, whereby interest in what is
+coming is aroused and is directed upon the music as well as upon the
+poem.
+
+The picture is complete in itself; I have only to vivify its colors
+during the performance. Upon the management of the body, upon the
+electric current which should flow between the artist and the
+public,--a current that often streams forth at his very appearance,
+but often is not to be established at all,--depend the glow and
+effectiveness of the color which we impress upon our picture.
+
+No artist should be beguiled by this into giving forth more than
+artistic propriety permits, either to enhance the enthusiasm or to
+intensify the mood; for the electric connection cannot be forced.
+Often a tranquillizing feeling is very soon manifest on both sides,
+the effect of which is quite as great, even though less stimulating.
+Often, too, a calm, still understanding between singer and public
+exercises a fascination upon both, that can only be attained through a
+complete devotion to the task in hand, and renunciation of any attempt
+to gain noisy applause.
+
+To me it is a matter of indifference whether the public goes frantic
+or listens quietly and reflectively, for I give out only what I have
+undertaken to. If I have put my individuality, my powers, my love for
+the work, into a role or a song that is applauded by the public, I
+decline all thanks for it to myself personally, and consider the
+applause as belonging to the master whose work I am interpreting. If I
+have succeeded in making him intelligible to the public, the reward
+therefor is contained in that fact itself, and I ask for nothing more.
+
+Of what is implied in the intelligent interpretation of a work of art,
+as to talent and study, the public has no conception. Only they can
+understand it whose lives have been devoted to the same ideals. The
+lasting understanding of such, or even of a part of the public, is
+worth more than all the storm of applause that is given to so many.
+
+All the applause in the world cannot repay me for the sacrifices I
+have made for art, and no applause in the world is able to beguile me
+from the dissatisfaction I feel over the failure of a single tone or
+attempted expression.
+
+What seems to me bad, because I demand the greatest things of myself,
+is, to be sure, good enough for many others. I am, however, not of
+their opinion. In any matter relating to art, only the best is good
+enough for any public. If the public is uncultivated, one must make it
+know the best, must educate it, must teach it to understand the best.
+A naive understanding is often most strongly exhibited by the
+uncultivated--that is, the unspoiled--public, and often is worth more
+than any cultivation. The cultivated public should be willing to
+accept only the best; it should ruthlessly condemn the bad and the
+mediocre.
+
+It is the artist's task, through offering his best and most carefully
+prepared achievements, to educate the public, to ennoble it; and he
+should carry out his mission without being influenced by bad standards
+of taste.
+
+The public, on the other hand, should consider art, not as a matter of
+fashion, or as an opportunity to display its clothes, but should feel
+it as a true and profound enjoyment, and do everything to second the
+artist's efforts.
+
+Arriving late at the opera or in the concert hall is a kind of bad
+manners which cannot be sufficiently censured. In the same way, going
+out before the end, at unfitting times, and the use of fans in such a
+way as to disturb artists and those sitting near, should be avoided by
+cultivated people. Artists who are concentrating their whole nature
+upon realizing an ideal, which they wish to interpret with the most
+perfect expression, should not be disturbed or disquieted.
+
+On the other hand, operatic performances, and concerts especially,
+should be limited in duration and in the number of pieces presented.
+It is better to offer the public a single symphony or a short list of
+songs or pianoforte pieces, which it can listen to with attention and
+really absorb, than to provide two or three hours of difficult music
+that neither the public can listen to with sufficient attention nor
+the artist perform with sufficient concentration.
+
+
+
+
+SECTION XXXVIII
+
+INTERPRETATION
+
+
+Let us return to the subject of Expression, and examine a song; for
+example,
+
+_"Der Nussbaum" by Schumann._
+
+The prevailing mood through it is one of quiet gayety, consequently
+one demanding a pleasant expression of countenance. The song picture
+must rustle by us like a fairy story. The picture shows us the
+fragrant nut tree putting forth its leaves in the spring; under it a
+maiden lost in reverie, who finally falls asleep, happy in her
+thoughts. All is youth and fragrance, a charming little picture, whose
+colors must harmonize. None of them should stand out from the frame.
+Only one single word rises above the rustling of the tree, and this
+must be brought plainly to the hearing of the listening maiden--and
+hence, also, of the public--the second "_next_" year. The whole song
+finds its point in that one word. The nut tree before the house puts
+forth its green leaves and sheds its fragrance; its blossoms are
+lovingly embraced by the soft breezes, whispering to each other two by
+two, and offer their heads to be kissed, nodding and bowing; the song
+must be sung with an equal fragrance, each musical phrase in one
+breath: that is, with six inaudible breathings, without ritenuto.
+
+They whisper of a maiden who night and day is thinking, she knows not
+of what herself. Between "selber" and "nicht was" a slight separation
+of the words can be made, by breaking off the _r_ in "selber" nasally;
+and holding the tone nasally, without taking a fresh breath, attacking
+the "nicht" anew. In this way an expression of uncertainty is lent to
+the words "nicht was."
+
+But now all becomes quite mysterious. "They whisper, they
+whisper"--one must bend one's thoughts to hear it; who can understand
+so soft a song? But now I hear plainly, even though it be very
+soft--the whisper about the bridegroom and the next year, and again
+quite significantly, the _next_ year. That is so full of promise, one
+can scarcely tear one's self away from the thoughts, from the word in
+which love is imparted, and yet that, too, comes to an end!
+
+Now I am the maiden herself who listens, smiling in happiness, to the
+rustling of the tree, leaning her head against its trunk, full of
+longing fancies as she sinks to sleep and to dream, from which she
+would wish never to awaken.
+
+_"Feldeinsamkeit" by Brahms._
+
+This song interprets the exalted mood of the soul of the man who,
+lying at rest in the long grass, watches the clouds float by, and
+whose being is made one with nature as he does so. A whole world of
+insects buzzes about him, the air shimmers in the bright sunlight,
+flowers shed their perfume; everything about him lives a murmuring
+life in tones that seem to enhance the peace of nature, far from the
+haunts of men.
+
+As tranquil as are the clouds that pass by, as peaceful as is the mood
+of nature, as luxurious as are the flowers that spread their
+fragrance, so tranquil and calm must be the breathing of the singer,
+which draws the long phrases of the song over the chords of the
+accompaniment, and brings before us in words and tones the picture of
+the warm peace of summer in nature, and the radiant being of a man
+dissolved within it.
+
+I mark the breathing places with _V_. "Ich liege still im Nohen gruenen
+Gras _V_ und sende lange meinen Blick _V_ nach oben _V_ [and again
+comfortably, calmly] nach oben.
+
+"Von Grillen rings umschwaermt _V_ ohn' Unterlass _V_ von Himmelsblaeue
+wundersam umwoben _V_ von Himmelsblaeue _V_ _wundersam umwoben_."
+
+Each tone, each letter, is connected closely with the preceding and
+following; the expression of the eyes and of the soul should be
+appropriate to that of the glorified peace of nature and of the soul's
+happiness. The last phrase should soar tenderly, saturated with a warm
+and soulful coloring.
+
+"Die schoenen weissen Wolken zieh'n dahin _V_ durch's _tiefe_ Blau _V_,
+[I gaze at it for a moment] wie schoene, stille Traeume _V_ [losing
+one's self] wie schoene stille Traeume. _V_ [A feeling of dissolution
+takes away every thought of living and being.] Mir ist _V_ als ob _V_
+ich laengst _V_ gestorben bin! [The whole being is dissolved in the
+ether; the end comes with outstretched wings soaring above the earth.]
+und ziehe selig mit _V_ durch ew'ge Raeume _V_ und ziehe selig mit _V_
+durch ew'ge Raeume. [Dissolution of the soul in the universe must sound
+forth from the singer's tone.]
+
+_"The Erlking," by Schubert._
+
+For him who is familiar with our native legends and tales, the willows
+and alders in the fields and by the brooks are peopled with hidden
+beings, fairies, and witches. They stretch out ghostly arms, as their
+veils wave over their loose hair, they bow, cower, raise themselves,
+become as big as giants or as little as dwarfs. They seem to lie in
+wait for the weak, to fill them with fright.
+
+The father, however, who rides with his child through the night and
+the wind, is a man, no ghost; and his faithful steed, that carries
+both, no phantom. The picture is presented to us vividly; we can
+follow the group for long. The feeling is of haste, but not of
+ghostliness. The prelude should consequently sound simply fast, but
+not overdrawn. The first phrases of the singer should be connected
+with it as a plain narrative.
+
+Suddenly the child hugs the father more closely and buries his face in
+terror in his bosom. Lovingly the father bends over him; _quietly_ he
+asks him the cause of his fear.
+
+Frightened, the child looks to one side, and asks, in disconnected
+phrases, whether his father does not see the Erlking, the Erlking
+with his crown and train. They had just ridden by a clump of willows.
+Still quietly, the father explains _smilingly_ to his son that what he
+saw was a bank of fog hanging over the meadow.
+
+But in the boy's brain the Erlking has already raised his enticing
+whisper.[3] The still, small voice, as though coming from another
+world, promises the child golden raiment, flowers, and games.
+
+[Footnote 3: The voice of the Erlking is a continuous, soft,
+uninterrupted stream of tone, upon which the whispered words are hung.
+The Erlking excites the thoughts of the fever-sick boy. The three
+enticements must be sung very rapidly, without any interruption of the
+breath. The first I sing as far as possible in one breath (if I am not
+hampered by the accompanist), or at most in two; the second in two,
+the third in three; and here for the first time the words "reizt" and
+"branch ich Gewalt" emerge from the whispered pianissimo.]
+
+Fearfully he asks his father if he does not hear the Erlking's
+whispered promises.
+
+"It is only the dry leaves rustling in the wind." The father quiets
+him, and his voice is full of firm and loving reassurance, but he
+feels that his child is sick.
+
+For but a few seconds all is still; then the voice comes back again.
+In a low whisper sounds and words are distinguished. Erlking invites
+the boy to play with his daughters, who shall dance with him and rock
+him and sing to him.
+
+In the heat of fever the boy implores his father to look for the
+Erlking's daughters. The father sees only an old gray willow; but his
+voice is no longer calm. Anxiety for his sick child makes his manly
+tones break; the comforting words contain already a longing for the
+journey's end--quickly, quickly, must he reach it.
+
+Erlking has now completely filled the feverish fancy of the child.
+With ruthless power he possesses himself of the boy--all opposition is
+vain--the silver cord is loosened. Once more he cries out in fear to
+his father, then his eyes are closed. The man, beside himself, strains
+every nerve--his own and his horse's; his haste is like a wild
+flight. The journey's end is reached; breathless they stop--but the
+race was in vain.
+
+A cold shudder runs through even the narrator; his whole being is
+strained and tense, he must force his mouth to utter the last words.
+
+
+
+
+SECTION XXXIX
+
+IN CONCLUSION
+
+
+The class of voice is dependent upon the inborn characteristics of the
+vocal organs. But the development of the voice and all else that
+appertains to the art of song, can, providing talent is not lacking,
+be learned through industry and energy.
+
+If every singer cannot become a _famous_ artist, every singer is at
+least in duty bound to have learned something worth while, and to do
+his best according to his powers, as soon as he has to appear before
+any public. As an artist, he should not afford this public merely a
+cheap amusement, but should acquaint it with the most perfect
+embodiments of that art whose sole task properly is to ennoble the
+taste of mankind, and to bestow happiness; to raise it above the
+miseries of this workaday world, withdraw it from them, to idealize
+even the hateful things in human nature which it may have to
+represent, without departing from truth.
+
+But what is the attitude of artists toward these tasks?
+
+CLEVELAND, January 11, 1902.
+
+
+
+
+NOTE
+
+_A Good Remedy for Catarrh and Hoarseness_
+
+
+Pour boiling hot water into a saucer, and let a large sponge suck it
+all up. Then squeeze it firmly out again. Hold the sponge to the nose
+and mouth, and breathe alternately through the nose and mouth, in and
+out.
+
+I sing my exercises, the great scale, passages, etc., and all the
+vowels into it, and so force the hot steam to act upon the lungs,
+bronchial tubes, and especially on the mucous membranes, while I am
+breathing in and out through the sponge. After this has been kept up
+for ten or fifteen minutes, wash the face in cold water. This can be
+repeated four to six times a day. The sponge should not be full of
+water, but must be quite squeezed out. This has helped me greatly, and
+I can recommend it highly. It can do no injury because it is natural.
+But after breathing in the hot steam, do not go out immediately into
+the cold air.
+
+
+
+
+
+
+
+
+End of the Project Gutenberg EBook of How to Sing, by Lilli Lehmann
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