Chapter 6

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.

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_.

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.