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diff --git a/19116-8.txt b/19116-8.txt new file mode 100644 index 0000000..cba7974 --- /dev/null +++ b/19116-8.txt @@ -0,0 +1,4431 @@ +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 + +*** END OF THIS PROJECT GUTENBERG EBOOK HOW TO SING *** + +***** This file should be named 19116-8.txt or 19116-8.zip ***** +This and all associated files of various formats will be found in: + http://www.gutenberg.org/1/9/1/1/19116/ + +Produced by David Newman, Linda Cantoni, and the Online +Distributed Proofreading Team at http://www.pgdp.net + + +Updated editions will replace the previous one--the old editions +will be renamed. + +Creating the works from public domain print editions means that no +one owns a United States copyright in these works, so the Foundation +(and you!) can copy and distribute it in the United States without +permission and without paying copyright royalties. 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