Part 3

_Soprano_, and _Tenore-Leggiero_, and in operatic music a certain kind of _Tenore-Robusto_.

{from {[Music: C4] {to {[Music: C6]

_Mezzo-Soprano_ and _Tenore-Robusto_

{from {[Music: A3] {to {[Music: A5]

_Mezzo-Contralto_ and _Barytone_

{from {[Music: G3] {to {[Music: G5]

_Contralto_ and _Bass_

{from {[Music: E3] {to {[Music: E5]

The basso-cantante is a low barytone, or high bass with a lighter quality of tone than the basso-profondo. The alto voice, or counter-tenor as it used to be called, is not a natural voice at all, but is artificially produced by training the _falsetto_ to the exclusion of the other parts of the voice. It is totally distinct from the contralto voice of a female, in quality, average compass, and the style of music best suited to it. It is of more use in part-singing and cathedral music than for solo work, although in some oratorios solo parts have been allotted to it. It is rarely pleasing when heard alone, for very few alto singers are able to avoid the appearance of singing with effort; and the whole performance, except in some instances, appears unnatural and forced. The alto voice ranges generally

from [Music: G3] to [Music: C5]

but its best notes are confined to the octave of B flat.

=Soprano.=--The soprano is generally clear, bright, and penetrating in tone; capable, if rightly produced, of "carrying" far without any appearance of force or effort. Its lower register is often weak and ineffective, and the forcing of those notes by a bad singer often damages the voice, and spoils the evenness of tone, which is of far more importance than power and noise in singing. Low notes, even if naturally weak, may be trained to take their proper share of the work of the voice, and every year will add to their natural power. Most soprano voices have a "break" on

[Music: G4]

and another, and more difficult one to deal with, on

[Music: E5]

or

[Music: F5]

The lower notes are the (so-called) "chest" register; the middle ones, between the breaks, the "falsetto," and the upper ones the "head" notes. I shall speak of these often-used and frequently-misapplied words presently; I merely mention them now for the sake of pointing out to soprani, what many young lady amateurs utterly ignore, that they have these "breaks," and possess "chest," "falsetto," and "head" notes, as well as male singers.

Soprano voices are frequently capable of great flexibility, and passages are easy to them which tax the powers even of a light mezzo-soprano severely. The high notes, especially, are in many cases easily produced in a staccato manner, like notes of a piccolo flute, and an effect is thus made, which, though pretty and pleasing if judiciously employed, becomes a great snare to many singers, who for the sake of astonishing their audience work the upper part of their voices unfairly, and, neglecting steady use and practice of the lower registers, will very soon find that they have weakened the power and thinned the tone of the whole voice.

But there are many voices of pure soprano tone which lack this flexibility: let the fair owners console themselves with the recollection that good _sostenuto_ singing is quite as pleasing, in the long run, as displays of vocal gymnastics. You may not be able to attempt the "_Dinorah_" Shadow Song, or the "Rejoice Greatly" in the "_Messiah_," but you will find that you have plenty of good work left for you in such music as "Dove Sono," "Deh vieni, non tardar" ("_Figaro_"), or "Jerusalem" ("_St. Paul_").

Moreover, you may possibly have what is a much rarer gift (in a pure soprano) than flexibility--you may have a tone of voice capable of executing declamatory music with fine effect. Music of this kind is generally appropriated by some mezzo-soprano of high compass, and more properly belongs to voices of that class; nevertheless, the effect of sustained declamatory music, well executed by a real soprano, is unrivalled in its way.

=Mezzo-Soprano.=--The mezzo-soprano voice is perhaps the commonest of all female voices, and yet one of the rarest met with in perfection. It is fuller and rounder in quality than the soprano--less flexible, and more adapted to a _sostenuto_ or declamatory style. Mezzo-soprano voices vary so much that it is difficult to name any note on which the "break" will be found. Sometimes it is on the same notes as a soprano--sometimes on the same as a contralto--on the average, perhaps, nearer the former. Wherever it may be, however, a judicious teacher will soon point it out, and put the student into the way of rightly treating it. Teaching, and _good_ teaching, is especially necessary for voices of this class, for their fortunate possessors are generally ignorant of the value of the treasure which they possess in a good mezzo-soprano; and if it be of light quality, they fancy themselves soprani, and force the upper register of the voice in trying to "stretch their compass;" or if their low notes develop first, they think that "with practice" they are to be contralti; and by over-exercise and fondness for displaying those deep notes, they run the risk of widening the break, and rendering the quality of the whole voice hopelessly uneven.

What lies within the sphere of a good mezzo-soprano has been shown in late years by a Grisi and a Tietjens, the latter of whom will live in the recollection of all who ever heard her, as the perfect model for every mezzo-soprano in the production of the pure tone and even quality.

=Mezzo-Contralto.=--The name mezzo-contralto speaks for itself. It is by no means an uncommon voice, and if used with discrimination is an effective and useful one. Both in compass and quality it lies between the contralto and the mezzo-soprano. Heavier in tone, less resonant, and less flexible than the mezzo-soprano, it is yet lighter than the contralto. Pure contralto voices are so rare that many mezzo-contralto singers appear as exponents of contralto music, and by paying chief attention to the lower register of their voices, they become fair imitations, and more than passable substitutes, for the real article. The possessor of this voice must be guided by the advice of a good teacher as to the direction in which her voice should be trained. Sometimes the natural quality of the voice renders it advisable to attempt rivalry with the mezzo-soprano, rather than with the contralto; sometimes the reverse. It is a question for decision by a competent adviser in each individual case, and therefore I shall not attempt to lay down any decided rule, except my oft-repeated one, "GO TO A MASTER, AND A FIRST RATE-ONE,"--a point on which I shall have more to say further on. How impossible it is to lay down rules for a mezzo-contralto is shown by the fact that an eminent living "mezzo-contralto" is gladly accepted on our opera stage as a leading contralto, and yet succeeds admirably in such a part as Rossini wrote for a mezzo-soprano of the most florid kind--_Rosina_ in "_Il Barbiere_."

=Contralto.=--The quality of a true contralto voice is so peculiar that it is impossible to mistake it for any other voice, although other voices may be mistaken for it. Of course, there are exceptional cases in which the contralto and mezzo-contralto are combined in one voice: the lower range being of full and pure contralto quality, while instead of the somewhat limited upper notes of the contralto, a rich mezzo-contralto range of notes may develop themselves; and in such a case careful training will be able to soften these two into each other, so that a complete voice of peculiar charm and great usefulness will result. But such cases, if not rare, are certainly the exception and not the rule, the deep and powerfully resonant tone of the true contralto being comparatively seldom met with. There is generally an awkward break between the low B and the D above it in this voice, and E flat or E are the highest notes within reach of the average contralto. Voices of this class are better adapted for a species of ballads, for solemn declamation, or music of a calm and flowing character, than for elaborate execution or lively melodies. But here again exceptions must be made in favour of those who have the physical means, as well as the artistic skill, to study such music as that of the _Page_ in "_Les Huguenots_," _Arsace_ in "_Semiramide_," or "_La Cenerentola_." For an average English contralto, however, the best line of study is in good songs and ballads, and, chief of all, oratorio music.

=Alto.=--The alto, or counter-tenor voice, is said by a well-known English alto singer to be "simply a development of the _falsetto_--generally the _falsetto_ of an inferior bass voice." It is said to be almost peculiar to English singers, and to that fact is ascribed its extensive and effective use in the fine works of the English Cathedral School of composers. Of course, in a voice which is so artificial, there must be expected a worse "break" than usual--the break in this case being the point below which the falsetto cannot be extended, and where the natural "chest" quality of tone has to be used. This break generally lies near the same place as the contralto break--if anything, rather higher--say between C and E in the middle of the voice. The effective notes of an alto usually lie in the octave of B or B flat, and the repertoire of music for which this voice is suited is comparatively limited. That repertoire, however, includes the greater number of oratorios, a good deal of fine old Italian music, and a few old English songs; while a singer of cleverness and cultivation will find many ballads which he may make his own by the help of transposition and style of delivery.

Great pains must be taken by the possessor of an alto voice in the formation and production of a good tone. The voice must be made to sound as _natural_ as possible; and, if necessary, power must unhesitatingly be sacrificed to sweetness. There is great danger of producing a harsh, reedy, or nasal tone, which, to the hearer, is simply distressing or offensive.

Above all, let him be content to develop his own means, and to keep to music suited to or written for his voice. A good alto will make no effect, and will do his voice and style harm, if he "poaches on the preserves" of other voices--tenors, for instance, or basses--(singing the songs of the latter an octave higher). I once heard an alto--a fair singer so long as he stuck to his own work--make an absurd exhibition of himself by attempting the great song "Love Sounds the Alarm," in "_Acis and Galatea_," at a public concert!

Let him also beware of the snare of contralto music. The alto in a man is totally distinct from the contralto in a woman. The tone is utterly different--the best notes of the one are certainly not the best notes of the other; and although in certain cases a contralto may sing with good effect music written for a male alto (_e.g._ in some oratorios), yet the converse is scarcely ever true. The low notes, which are so fine in a contralto, and so unlike any other tone except perhaps a few notes of some tenors, are utterly wanting in charm, and generally in power, in a male alto; while the sweet and ringing middle notes of the latter are far more effective in alto music than the (frequently) weak and uncertain middle notes of a contralto. Choose your music as you name your voice, by the quality of tone you can produce, and not by the range of notes.

=Tenore-Leggiero.=--The _tenore-leggiero_ or "light tenor," is the male voice corresponding to the female soprano; it is perhaps the most delicate and difficult to manage of all human voices. In the present day, when fashion is all in favour of noise, it is difficult for any but the strong-minded to stand firm against the tendency to shout and bawl, which appears to be the highest aim of many singers, and the highest admiration of most audiences. Now for a light tenor to attempt this style of singing is simply suggestive of the old fable of the frog who tried to make himself as big as the bull, and burst in the attempt. There is a modern school of singing which, though it may be suitable enough for heavy voices such as basses and robust tenors, is fatal to light and delicate voices. The style of singing, and of music to be sung, by this voice, is quite different from that appropriate to strong and full organs; and, if you are the possessor of a light tenor, you must at once rid yourself of the common amateur fancy (a fancy, too, by no means confined to amateurs) that you must imitate a certain ever-popular living tenor, whose name has passed almost into a proverb as typical of the perfection of English singing. You _cannot_ be a "Reeves" or a "Braham," therefore it is only waste of time and strength for you to try. But there is a great deal of music which neither a "Reeves" nor a "Braham" could sing, which is well within your reach; and more than that, there is a great deal of excellent music which, though you cannot sing it _like_ them, you may render very effective in a totally different style. Very often a _pianissimo_ is quite as expressive as a _fortissimo_, and grace and sweetness are frequently an excellent substitute for power and force. You must be content to recognize that the latter are out of your reach, and that the effects which you can produce are to be attained by other means.

However, while assuring you that power and force are not given to you, I do not mean to say that voices of your class need be at all inaudible in a space however large. The tone of a light tenor is generally clear, resonant, and penetrating; sometimes there is a metallic ring about it which is extremely pretty, if not forced. I have heard a light tenor, singing at the back of the Covent Garden stage, send his voice clearly out into the great theatre, with apparently more ease than his "robust" friend, who was shortly afterwards vociferating at the footlights.

A light tenor must be careful not to force up the lower register of his voice beyond its natural and easy limit. The charm of the voice is in the perfect blending together of the lower, middle, and upper registers, and to do this the upper notes of each register should be equally at command, as the upper notes of that register or the lower notes of the one above it. In order to attain this, the change from one register to another should generally be made considerably lower than the place where the real "break" in the voice comes. For instance, supposing the "break" to be on E flat, the singer should be able to change his register as low as B or B flat, and to take all the notes between those two places, either in the upper or lower register, with equal effect.

In voices of this character there is often one note which requires to be _made_--_i.e._, which is so naturally defective in tone and quality that it can only be produced effectively by imitating as nearly as possible the quality of the register above or below it. This note is generally E, F, F#, or (sometimes) G, between the middle and upper registers; and if you find that you unfortunately have such a refractory note, remember not to try and force the tone of it from the next note above or below; _e.g._, if your bad note is F, do not try to improve it by singing E well and then passing on to the F; but try and form the note from the fifth above or below (whichever it happens to resemble most in tone). Rounden the refractory note--give it a full tone in practising, and produce it well from the chest, letting the sound reverberate from the centre of the roof of the mouth--neither too far back towards the throat, nor too much on the teeth. Your teacher, if he knows his business, will soon put you into the way of this. Voices vary so much that these very general remarks must suffice here; but each voice, if it has its peculiar difficulties, has also, doubtless, its peculiar charm; and for light tenors, rich in both charms and difficulties, the rule is all-important: Do not try to imitate anybody else, but let your aim be to do the best that can be done with such natural gifts as you may have, aided by the best training that you can procure for them.

=Tenore-Robusto.=--The robust or strong tenor is the male voice corresponding to the mezzo-soprano of a female. It is not an uncommon voice, but is rarely met with in anything like perfection. A robust tenor voice of large compass and round full tone is a treasure of the utmost value. The fact is, that too frequently the possessor of a good voice of this kind, instead of taking care of it and training it for the future, begins using it too soon, strains and forces it into coarseness, and spoils it for ever. People do not realize that a voice may be strong in quality and powerful in tone, and yet in itself be an excessively delicate thing to keep in order.

Moreover, voices of this kind in their youth frequently resemble barytones, and their owners, fired with ambition to rival some popular barytone singer, mistake their vocation, and shout and bellow on the very part of the voice--the upper "chest" register--which requires the tenderest nursing to fit it for future difficulties. Consequently, when the voice develops with age, and the singer finds that barytone work is too heavy for the lower part of the voice, and that he can without much difficulty extend his compass beyond the barytone limits, he discovers that what he has been using as the top of his voice is nearer the middle of it, and that the mode of using those notes which he has practised is excessively difficult, if not impossible, with those which now lie above them. The result is either the creation of a very awkward "break," which even time and practice can never entirely remove, or else (and this is a commoner case) the same process of forcing which has been employed hitherto is applied to the upper notes, as far as strength can take it! This is the reason why so many tenor singers are utterly unable to produce the real tenor "tone," and sound like barytones forced up to a higher compass. There is no sweetness in the upper notes so produced--nothing but force and noise; while the hapless perpetrator of the howls which represent high notes turns scarlet in the face, and quivers all over with his exertions. I therefore give to tenors of this class exactly the same warning that I gave to soprani:--Do not ignore the fact that you have three, or at all events two, distinct registers of the voice, the (so-called) "chest," "throat," and "head." Do not suppose, when you hear a great singer produce on a high note exactly the same quality of tone as he produced on a low one, that he did it exactly the same way, or "got it from the same place," as some people say. The perfection of his training and the diligence of his practice have enabled him to assimilate the quality of one register to that of another so completely as to deceive your ear. The proof that this is true may be found in inspecting a great deal of music written for and sung by the most famous operatic tenors of the past--the singers of that pure Italian school of which so few disciples now remain.

There are notes and passages in that music which no "chest" register could by any physical possibility execute, but some of which have been sung within the recollection even of the "rising generation" with all the effect intended, and with the very tone that critical slang calls "chest notes," (simply because it so closely resembles the tone of chest notes that few, if any, can detect that they are differently produced from the low notes.)

For obvious reasons I abstain from mentioning the names of any living singers, but I can name one, not very long since dead, who attained the highest reputation here as a _tenore di forza_--whose "chest notes" were chronicled by the newspaper critics, and were the envy of aspiring youths--and yet who has ever been heard distinctly to deny that he ever produced those notes in the same way as the lower ones, and to laugh at the idea that such a thing was possible; and this was Mongini.

I have entered into this at some length because it is a point which is more and more ignored by the singers and teachers of this generation. I might almost say that a school of singing exists the whole aim of which is to abolish the natural upper part of the voice, in order to stretch and force the one lower register up beyond its natural compass. I do not deny that in certain cases a voice results from this treatment which is powerful, effective, and capable of executing a good deal of music with much success and satisfaction to the performer; but for one case where this treatment so far succeeds, it fails in twenty to produce a voice both pleasing and useful; it is, moreover, in singers trained on this method that we most commonly hear the odious (and involuntary) trembling of the upper notes commonly called the _vibrato_.

Therefore, to sum up those who find, when their voices begin to form, that the natural quality of their voice is lighter than that of a bass, had better make up their minds at once to give the voice fair play, and let it alone for a time; then consult a good master, or one really experienced in hearing singers, as to what the future of the voice is to be. It is by no means easy always to decide at that early period whether the permanent quality of the voice will be tenor or barytone, and therefore it is folly to try and settle the question for yourself by singing, in untaught style, music which may prove to have been all along unsuited to you. Your patience in waiting till the voice really declares itself will amply repay you afterwards by the absence of the difficulties which too early a use of the voice would have created for you to overcome.

=Barytone and Basso-Cantante.=--The barytone voice is thus described in Stainer and Barrett's "Dictionary of Musical Terms:" "A voice of fuller quality than a tenor, and lighter than a bass, having a compass partly included in both.... This voice has only been distinguished by name as being of a separate character within the present century. Early writers indicate its existence by the use of its special clef. The term barytone is unmeaning unless it be looked upon as a corruption of barytenor; but it is quite possible it was borrowed from the instrument barytone or bardone, which occupied a place between the tenor and bass viols."

The derivation of the name from "barytenor" is slightly absurd, considering that half that extraordinary word is Greek and the other half Latin; whereas the name barytone is a Greek word, used by Aristotle, and meaning "deep-sounding."