CHAPTER XV

THE ART OF DRAWING-ROOM SINGING

CORRECT BREATHING AND VOICE PRODUCTION

ONE of the most delightful sounds in the drawing-room is the music of the human voice, uplifted in song to a soft pianoforte accompaniment, if, of course, the voice be tuneful, easily produced, and sympathetic, and the breathing taken without effort.

The first steps to be considered in singing are (1) correct breathing, (2) voice production, (3) clear pronunciation. The tongue should be hollowed behind the teeth, not rolled up in a ball, thus closing the vocalist’s throat. The uvula, so called because of its supposed likeness to a grape, should be lifted to the roof of the soft palate, the mouth presenting a hollow open chamber, through which the notes issue in clear, bell-like tones (Fig. 1).

The beginner will find this a difficult matter, and effort and will are needed to keep the tongue down and the uvula up. The position of the former may be demonstrated by means of the handle of a teaspoon pressed against it. The tongue will prove rebellious until practice makes it perfectly easy and natural to subdue it in the necessary manner.

In breathing, inhale a long slow breath through the nose only, keeping the mouth closed. The air should originate in the upper part of the diaphragm, and be held until the ribs are slowly inflated, balloon fashion, when it should be exhaled through the open mouth, gently and without effort until the ribs contract. Never push the ribs to lengthen the expiration of breath.

A good plan to insure easy and quiet breathing is to count slowly to ten while the chest box is being inflated, and also when the air is being exhaled. In this manner the breath will be prevented from coming and going in spasmodic gasps and jerks. The number ten may be increased gradually to twenty or thirty, until the student is able to produce breath sufficient for the phrase vocalized. Regular breathing exercises should be taken every day before singing, the hands being placed upon the ribs, in order to feel and insure their gradual rise and fall.

An anatomical study of the throat, windpipe, and lungs should be made (Fig. 2), and this will considerably help the student to understand the difficult mechanism of voice production.

Practice gradually adds new notes to the voice, but the young singer must be careful not to strain the vocal organs by endeavoring to sing high and low notes before they are naturally developed.

Concones and every variety of singing exercises should be practiced before a song is undertaken. Over-practice is harmful. Vocal organs should never be fatigued or unduly taxed, and half-an-hour’s practice is ample--indeed, more valuable than an hour at a stretch.

Singing directly after meals should be avoided, and the throat must not be coddled in furs or compressed by high collars.

DAINTY MODERN SONGS

In drawing-room singing, four or five-versed lyrics are not nearly so charming as the dainty modern songs of two or three verses, and these must never be undertaken until the student has reached a proper understanding of phrasing, breathing, and expression.

Many singers prefer to accompany themselves, but this has its disadvantages, as the voice is far better produced when the vocalist is standing. The position should be easy and natural, the head erect, but not lifted back, as this contracts and narrows the larynx.

While the singer should enter into the idea of the composer, she should have her own conception of the song, and endeavor to give it, as far as possible, her own individual expression, her voice being colored by the cultivation of her soul; otherwise the most perfect vocalization will fail to move the audience.

These elementary rules hold good for the male as well as the female singer, and cannot be too carefully considered.

A further important factor in the art of singing is the hygiene of the human body. The singer must cherish physical health. Plenty of outdoor exercise should be taken. Indulgence in drinking and over-eating is injurious. To practice when fatigued, or indisposed, is to risk permanent harm to the voice; and to sing when suffering from a cold is extremely foolish. At such times, breathing exercises may be taken with advantage, as they clear the lungs and help towards recovery.

Lady singers are sometimes inclined to wear gowns which do not allow them sufficient room for breathing purposes, and they will often willfully sacrifice the well-being of their voices to be fashionably attired. In order to perform their functions properly, the lungs and ribs must have space and freedom from pressure. Too narrow bodices are almost as pernicious to the voice as tight lacing, for these seriously retard the breathing, and what in loose garments is natural and easy of accomplishment, becomes an obvious struggle, which fatigues the singer and renders her voice thin and poor in quality. This is often the reason why a vocalist is seen to lift her shoulders and pant audibly during her song, thus marring her conception, which may be, in every other particular, delightful and artistic.

Many singers with weak lungs find voice production extremely beneficial, for proper breathing and careful practice do more to strengthen a delicate chest than any bottled remedies.

The vocalist should never stoop (for this narrows and compresses the vocal organs), and in singing the first care should be to see that the shoulders are well thrown back, although not strained to an unnatural position.

In practicing, it is beneficial to keep the arms folded behind the back, placing the hands over the elbows, and taking care not to thrust the head forward. This will keep the chest expanded, and the body easily upright.

THE VALUE OF A GOOD ACCOMPANIST

When performing, it is necessary to be equipped with a good accompanist--one who understands the art thoroughly, and refrains from banging out the notes as if the voice of the singer were merely the background to his own performance. The three qualities essential in an accompanist are sympathy, artistic sensibility, and discernment to understand the temperament and conception of the vocalist.

An inefficient accompanist has power to transform an artist’s highest and most conscientious endeavor into irritability and inability to render individual expression. Pianists frequently are highly recommended to singers because of their gift of sight reading. Now this is a very valuable and important accessory, but there are many excellent sight readers who have no idea of that delicate and tactful manipulation of accompaniment found in the true artist, and who, even though they play correctly the most difficult music placed before them, sadly fail because of inadequate comprehension of the needs vital to the singer.

To hustle the singer is almost as heinous a fault as to lag behind. Some accompanists convey the fatiguing impression of a brake applied to a carriage wheel, and the artist feels as if she were pulling the pianist through the song, while others play as if they were racing to catch a train, and there is not a moment to lose. Both these defects are equally fatal. The pianist on these occasions should neither be independent nor dependent. She or he must realize that, although the pianoforte is subordinate, it is extremely important because of its power to influence the mind and conception of the singer, who should feel an electric tide of sympathy and support flowing from the pianoforte and carrying the voice on a wave of sound.

An accompanist should be chosen with care, rehearsed with frequently, and must possess individual qualities in common with the temperament of the singer. A sense of reliability and strength conveyed will do much to put the most nervous vocalist at ease, and give that tranquility and self-possession without which no singing is successful.

Rehearsing before a mirror is of great assistance, for it is only in studying the reflection of one’s features when singing that one is able to check nervous mannerisms and facial contortions. Pains must be taken to open the lips adequately wide, for the mouth is the mold; the voice, the molten gold; and, if the mold is twisted or narrowed, the gold will be warped and flawed in quality.

The simpler the manner of the singer the sweeter the song, for the affectation sometimes indulged in, the airs and grimaces commonly known as “side,” which some singers see fit to employ, are as unsightly as a mud-splashed window-pane. They are often also the insignia of the incompetent and the ignorant, for it is never the true artist who thus obtrudes herself on her hearers.

Of course, in some cases apparent affectation really originates in extreme nervousness and hyper self-consciousness. In such cases the singer must battle patiently with this embarrassing trait until it is overcome, for unless this is accomplished one’s singing can never be a joy and delight.

In order to be successful, a song must be delivered harmoniously; to voice sweet exquisite words accompanied by facial contortions is to make a pitiful caricature of your performance.

Take care, therefore, that your attitude, features, and expression combine to carry the emotion conveyed in your voice. Study unity and repose. Endeavor to forget your own identity for the time being, considering yourself only as the cage that holds the nightingale.

Although the singer should be perfect mistress of the songs forming her repertoire, she should always deliver them freshly and spontaneously.

There is an old saying, “Familiarity breeds contempt,” and, notwithstanding the fact that this is usually said of individuals, it may be applied very truly to the relationship that exists between singer and song.

WHY SINGERS OFTEN FAIL

It is very usual for an ambitious student to be consumed with conscientious determination. She makes up her mind to learn a difficult song, and she works assiduously at it day after day, week after week, until she knows every word and every note.

By-and-by she performs it proudly to a select circle of friends, and she is surprised and discouraged to find that all her keen enthusiasm for the song has gone. It does not seem to suit her voice; the words have lost meaning. The emotion she at first poured into it has disappeared, and she is thoroughly disheartened, and is quite unable to find reason or remedy for her indifference.

An experienced artist would be able to show that student in a moment wherein her failure lay.

She had allowed herself to become too familiar, and familiarity had bred contempt. The song doubtless needed practice, but not incessant grinding and toiling. One cannot hammer the arts into one’s head as if they were nails being driven into wood. The subtle essence, the ephemeral spirit of the song will still evade the singer. To catch that, and to reveal it to others, the work must be as pure as the widespread petals of a flower.

So, when listlessness replaces your high enthusiasm for a song with which you have become too familiar, do not be disheartened, but put it away, and determine not to touch it or hear it sung until your first eagerness to master it is reborn. Then, and then only, take it out and sing it, and you will be astonished at the result; for having mastered the technicalities you are able to pour your heart into your words, and the result amazes you and delights your hearers, who think you have never sung anything better or more suitable to the pitch and timbre of your voice.