Chapter 3

HOW TO SECURE GOOD TONE.

The practical application of the teaching of the two preceding chapters may at first thought seem to be difficult. On the contrary, it is quite easy. We have favorable conditions in schools; graded courses in music, regular attendance, discipline, and women and men in charge who are accustomed to teach. No more favorable conditions for teaching vocal music exist than are to be found in a well-organized and well-disciplined school. The environments of both pupils and teachers are exactly adapted to the ready reception of ideas, on the one hand, and the skilful imparting of them, on the other.

The abilities of the trained teachers of to-day are not half appreciated. They often possess professional skill of the highest order, and the supervisor of music in the public schools may count himself exceedingly fortunate in the means he has at hand for carrying on his work. But knowledge of voice is no more evolved from one's inner consciousness than is knowledge of musical notation, or of the Greek alphabet; therefore, if regular teachers in the school permit singing which is unmusical and hurtful, it is chiefly because they are following the usual customs, and their ears have thereby become dulled, or it may be that even if the singing is unpleasant to them, that they do not _know how_ to make it better. As before said, all energies have so far been directed to the teaching of music reading. Tone has been neglected, forgotten, or at most its improvement has been sought spasmodically. The carelessness regarding tone, which is so prevalent, is due to an almost entire absence of good teaching on the subject of the child-voice-- to ignorance, let us say-- not altogether inexcusable.

Now and then, when listening to the soprani of some well-trained boy-choir, sounding soft and mellow on the lower notes and ringing clear and flutey on the higher, it may have dimly occurred to the teacher of public school music that there might be things as yet unheard of in his musical philosophy, a vague wonder and dissatisfaction, which has slowly disappeared under the pressure of routine work.

When one reflects upon the results which the patience and skill of our regular teachers have accomplished in teaching pupils to read music; it can never be reasonably doubted that the same patience and skill, if rightly directed, will be equally successful in teaching a correct use of the voice.

Two principles form the basis of good tone-production as applied to children's voices.

1st. _They must sing softly._

2d. _They must be restricted in compass of voice._

If these two rules are correctly applied in each grade, if pupils sing _softly enough_, and carry their tones neither too high nor too low, always taking into account the grade or average age of the class, then the voice will be used _only in the thin or head-register_, and the tones of the thick or chest-register will never be heard. But the two rules must be as one, for if soft singing be carried too low with infant voices, they are forced to use the thick tones; and children of all ages, even if singing within the right compass of voice, will use the thick register if permitted to sing too loud.

There is nothing particularly original in insisting upon soft singing from children. The writer has never seen a book of school music that does not mention its desirability, nor hardly a reference to the child-voice in the standard works or writings of the day of which this idea has not formed a part.

The general direction "Sing softly" is good so far as it goes, but is, first, indefinite. Softly and loudly are relative terms, and subject to wide diversity of interpretation. The pianissimo of a cultivated singer is silence compared to the tone emitted by vocalists of the main strength order, when required to produce soft tone. Secondly, the direction is seldom or never found coupled with instruction upon the vocal compass of children. Hence, it does not seem very strange that the injunction "Sing softly" has not corrected vocal errors in school singing.

It is not easy, it is even impossible, to accurately define soft singing, and no attempt will be made further than to describe as clearly as may be the degree of softness which it is necessary to insist upon if we would secure the use of the thin or head register.

The subject of register has already been discussed, but it may not be amiss to repeat just here that in the child larynx as in the adult the head-register is that series of tones which are produced by the vibration of the thin, inner edges of the vocal band. If breathing is natural, and if the throat is open and relaxed, no strain in singing this tone is possible. It is evident in a moment that children with their thin, delicate vocal ligaments can make this tone even more easily than adult sopranos, whose vocal ligaments are longer and thicker; and it is also perfectly evident that no danger of strain to the vocal bands is incurred when this voice is used, for all the muscles and ligaments of the larynx are under far less tension than is required for the production of tones in the thick register.

It must also be remembered in connection with this fact, that children often enter school at five years of age, and that according to physiologists the larynx does not reach the full growth in _size_, incidental to childhood until the age of six years. We must then be particularly careful with infant classes-- for the vocal bands of children prior to six years of age are very, very weak. Speaking of infant voices, Mr. W. M. Miller, in Browne and Behnke's afore-mentioned work, "The Child-Voice," is quoted as saying; "Voice-_training_ cannot be attempted, but voice-_destruction_ may be prevented. Soft singing is the cure for all the ills of the vocal organs." It would be hard to find a more terse or truthful statement than the first sentence of the above as regards the voices of little children from five to seven or eight years of age. It is unmitigated foolishness to talk about vocal training as applied to children of that age. The voice-culture which is suited to little children is that sort of culture which promotes growth-- food and sleep and play. As well train a six months' old colt for the race track, as attempt to develop the voice of a child of six or seven years with exercises on _o_, and _ah_, _pianissimo_ and _fortissimo_, _crescendo_, _diminuendo_ and _swell_. Their voices must be used in singing as _lightly as possible_. This answers the question, how softly should they sing?

Children during the first two or three years of school-life may be permitted to sing from

[Music: e' e'']

or if the new pitch is used from

[Music: f' f'']

Two or three practical difficulties will at once occur to the teacher with reference to songs and exercises which range lower than E first line, and with reference to the customary teaching of the scale of C as the initial step in singing.

The subject of compass of children's voices will be discussed at some length in a following chapter, but for the present it may be said that the difficulty with songs and exercises ranging below the pitch indicated may be overcome easily by pitching the songs, etc., a tone or two higher. If they then range too high, don't sing them, sing something else. In teaching the scale, take E or F as the keynote, and sing either one or the other of those scales first. The children must sing as softly as possible in all their singing exercises, whether songs or note drill. They should be taught to open their mouths well, to sit or stand erect as the case may be, and under no circumstances should the instructor sing with them. Too much importance can hardly be given to this last statement. If teachers persist in leading the songs with their own voices and in singing exercises with the children, they can and most probably will defeat all efforts to secure the right tone in either the first, or any grade up to that in which changed voices are found. This sounds rather cynical, and might seem to imply that instructors cannot sing well. The meaning, however, is quite different.

The quality or timbre of the adult woman's voice is wholly unlike that of the child's thin register. Her medium tones, even when sung softly, have a fuller and more resonant quality, and if she lead in songs, etc., the pupils, with the proverbial aptitude for imitation, will inevitably endeavor to imitate her tone-quality. They can only do so by using the thick register, which it is so desirable to utterly avoid. It is worse yet for a man to lead the singing. Neither should one of the pupils be allowed to lead, for not only will the one leading force the voice in the effort, but a chance is offered to any ambitious youngster to pitch in and outsing the leader; from all of which follows naturally the idea that all prominence of individual voice must be discouraged, forbidden even. The songs and exercises must be led, it is true, but by the teacher and _silently_. Then, again, unless the teacher is silent she cannot be a good critic. Think of a voice-trainer singing each solfeggio and song with his pupil during the lesson.

Certainly it is often necessary for the teacher to sing, but only to illustrate or correct, or to teach a song. In the last, if the teacher will remain silent while the class repeat the line sung to them, and will proceed in the same way until the whole is memorized by the class, not only will time be economized, but the tone can be kept as soft as is desired and individual shouters checked. Once more it must be insisted that soft, very soft singing only, can be allowed. And this applies to the entire compass used. Children of the ages mentioned can, as has already been shown, break from the thin to the thick voice at any pitch, it only requiring a little extra push for the upper tones.

Finally, as an excellent test to settle if the tone is soft enough to ensure the use of the thin register beyond doubt, require the class to sing so that no particular voice can be distinguished from the others, which will make the tone as that of one voice, and perhaps lead you to doubt if all are singing, until convinced by the movement of their mouths. The tone will seem pretty light and thin, but will be sweet as the trill of a bird.

_To Distinguish Registers._

The difficulty which may be experienced in attempting to distinguish between the two registers must not be disregarded. If the voices of children were never entrusted to any save professional voice-teachers, a very few hints upon their management would perhaps suffice, for the ear of the teacher of voice and singing is presumably trained in the differentiation in tone-quality occasioned by changes in the action of the vocal mechanism. When, however, we reflect that of the thousands of teachers in our public schools very few, indeed, have ever heard of voice-registers, and much less been accustomed to note distinctions in tone-timbre between them, the need of a detailed plan of procedure is seen.

It is safe to assert that anyone with a musical ear can with a little patience learn to distinguish one register from another. There is no vocal transition so marked as the change from thick to thin register in the child-voice, unless it be the change from the chest to the head or falsetto in the man's voice. Suppose we take a class of say twelve from the fourth year averaging nine years of age. Give them the pitch of C.

[Music: c']

Require them to sing up the scale loudly. As they reach the upper tone

[Music: c'']

stop them and ask them to sing that, and the two tones above _very softly_. The change in tone will be quite apparent. The tone used in ascending the scale of C, singing loudly, will be reedy, thick and harsh-- the thick register. The tone upon

[Music: c'' d'' e'']

singing very softly, will be flute-like, thin and clear-- the thin register. Again, let them sing E first line with full strength of voice and then the octave lightly, or have them sing G second line, first softly and then loudly, or, again, let them ascend the scale of E singing as light a tone as possible, and then descend singing as loud as they can. In each case the change from thick to thin voice, or vice versa, will be illustrated; and in singing the scale of E as suggested, the break of voice a little higher or lower in individual cases will be noticed. It is quite possible that some members of the class may use the thick voice on each tone of the descending scale beginning with the highest.

Care must always be taken that in singing softly the mouth be well opened. The tendency will be to close it when required to sing lightly, but the tone, then, will be nothing but a humming noise. It may as well be said here that a great deal of future trouble and labor may be avoided, if, from the first, pupils are taught to keep the mouth fairly well opened, and the lips sufficiently apart to permit the free emission of tone. Let the lower jaw have a loose hinge, so to speak. It is well enough to point out also that when the lower jaw drops, the tongue goes down with it, and should remain extended along the floor of the mouth with the tip against the teeth while vowel-sounds are sung.

There are many other ways than those already suggested, in which the distinction between the registers may be shown. Let the whole class sing

[Music: d'' c'' b']

softly, and then the next lower tone or tones loudly. The thick quality will be heard easily enough. Or from the room select a pupil, one of the class who has, in the phraseology of the schoolroom, a good voice, to sing the scale of D ascending and descending. If the pupil be not timid, and the kind referred to are not usually, and if loud singing has been customary, the tone will be coarse and reedy throughout. Now let another pupil who has what is called a light voice, and who daily sits modestly in the shade of his boisterous brother, sing the same scale. The tone in all likelihood will be pure and flutey, at least upon the higher notes.

Take the scale of E now and have each pupil in the room sing it alone. There may certainly be some who cannot sing the scale, and if the daily singing has been harsh, the number may be large, but postponing the consideration of these so-called monotones and directing the attention wholly to the quality or timbre of tone used by the different pupils, it may be observed that some use the thick voice only, some use the thin voice, others break from the thick voice into the thin at one pitch as they ascend, and from the thin to thick voice at a lower pitch as they descend; and if required to sing again, may perhaps pass from one voice to the other at different pitches. Others again may exhibit a blending of the two voices at certain pitches. In fact, unless the degree of power is suddenly changed, a break from the thick tone upon one note to the thin tone upon the next note or vice versa seldom occurs.

The same illustrative tests may be applied to children of any grade, or of any age up to the period when the voice changes, only the break will occur lower with older pupils. Suppose, now, the teacher has obtained a tolerably clear idea of the differences between the registers; she should then arouse a perception of tone-quality in her pupils. Let the beauty of soft, light tone as contrasted with loud, harsh tone be once clearly demonstrated to a class, and the interest and best efforts of every girl or boy who has the germ of music within them will be enlisted. Those who grumble because they may not sing out good and loud may be disregarded, and with a clear conscience. The future will most likely reveal such incipient lovers of noisy music as pounders of drums and blowers of brass.

Select now a number of the class who upon trial have been found to have light, clear voices and who are not prone to shout. Let them sing

[Music: e'' {or} f'']

and then slowly descend the scale of E or F, singing each tone softly, and those below C

[Music: c'']

very lightly. This will insure the uninterrupted use of the thin register to the lowest note. Let them now sing up and down the scale several times, observing the same caution when notes below C or B are sung, and also insisting that no push be given to the upper notes. Now, first excusing monotones, let the other pupils in the room sing first down the scale and then up, imitating the quality and softness of tone of the picked class. Recollect, you are asking something of your pupils which it is perfectly easy for them to do. It may be that the strength of well-formed habits stands opposed to the change, but, on the other hand, every musical instinct latent, or partly awakened, is becoming alert and proving the truth of your teaching better and faster than can any finespun reasoning. Illustrate the difference in tone-quality between the thick and thin register as often as it is necessary, to show your pupils what you wish to avoid and how you wish them to sing. When in doubt whether or not the thin quality is being sung, require softer singing until you are sure. It is better to err upon the side of soft singing than to take any chances.

In time teachers will become quick to detect the change in register, and in time also the pupils who are trained to sing in the thin voice will yield to the force of good habit, as they once did to bad habit, and seldom offend by too loud or too harsh tone.

The inquiry may naturally have arisen ere this: Are syllables, i.e., _do_, _re_, _mi_, etc., to be used, or the vowel-sounds? It is immaterial from the standpoint of tone-production, whether either or both are used. Until children are thoroughly accustomed to sing softly, they will be kept upon the thin register more easily when singing with a vowel-sound, than when using the syllables. The reason is that the articulation of the initial consonants of the syllables requires considerable movement of the organs of speech, viz., the tongue, lips, etc., and these movements are accompanied by a continually-increasing outrush of air from the lungs, occasioning a corresponding increase in the volume of sound. Adult voices show the same tendency to increase the volume of tone when first applying words to a passage practiced pianissimo with a vowel-sound. It is advisable then to sing scales and drill upon them with a vowel-sound, and to recur to the same drill for a corrective, when a tendency to use the thick voice in singing note exercises appears.

Scale drill may be carried on as follows: If the scales are written upon a blackboard staff, they may from day to day be in different keys. It is a very easy matter to extend the scale neither above nor below the pitches within which it is desired to confine the voice. For example, the scale of E or F may be written complete, that of G as follows:

[Music: {scale in G running down to e' and up to e''}]

or A

[Music: {scale in A running down to e' and up to f#''}]

or B{b}

[Music: {scale in B{b} running down to e{b}' and up to f''}]

and so on. Now let the teacher with a pointer direct the singing of the class upon the selected scale in such a manner as to secure the desired result in tone, and incidentally a familiarity with pitch relations, etc. Of course, if charts are used the trouble of writing scales is saved, only it is advised that the notes lying outside the prescribed compass be omitted in the lower grades entirely, and in the upper until the habit of good tone is established, when, of course, the tones may be carried below E with safety. The extent and variety of vocal drill which can be given with a pointer and a scale of notes is wonderful; but nothing more need be now suggested, than those exercises which are peculiarly intended to secure good tone, and fix good vocal habits, although it must be evident that all such drill is very far-reaching in its effects.

A few exercises which are very simple are here suggested. First, taking the scale of

[Music: {scale in F running down to e' and up to f''}]

for example. Let the teacher, after the pitch of the keynote is given to the class, place the pointer upon F, and slowly moving it from note to note, ascend and descend the scale, the class singing a continuous tone upon some vowel, _o_ for instance. The pointer should be passed from note to note in such a manner that the eye can easily follow it. If the notes are indicated to the class by a series of dabs at the chart or blackboard, the pointer each time being carried away from the note several inches, and then aimed at the next note and so on, the eye becomes weary in trying to follow its movements, and the mental energy of the pupils, which should be concentrated upon tone, is wasted in watching the gyrations of the pointer. If, on the other hand, the pointer is made to glide from note to note, passing very quickly over intervening spaces, then the eye is not wearied in trying to follow it. These directions may seem pretty trivial, but practical experience has proved their importance. The vowel _o_ is suggested because it has been found easier to secure the use of the head-register with this vowel than with _ah_, when it is sought to break up the habit of singing loudly and coarsely.

The term continuous tone used to describe the style of singing desired is meant literally. If the class in this scale-drill all stop and take breath at the same time, making frequent breaks in the continuity of the tone, there will be found with each new attack a tendency to increase in volume of sound. For certain reasons, which will be explained in the chapter on breath-management, the attack of tone will become more and more explosive, demanding constant repression. This irritating tendency may, in a short time, be almost entirely overcome, if, instead of letting the class take breath and attack simultaneously, each pupil is told to take breath only when he or she is obliged to, and then at once and softly to join again with the others. This will effect the continuous tone, useful not alone as a corrective for the tendencies to loud singing, but also to establish good breathing-habits.

This same swift, silent breath-taking and succeeding soft attack of tone must be insisted upon in _all_ school singing.

The exercise already suggested is slow singing or rapid singing of the scale with the vowel _o_ softly, and with continuous tones. Other simple exercises are obtained by repetitions of the following exercise figures at higher or lower pitches throughout an entire scale, or parts of a scale, ascending and descending progressively:

[Transcriber's Note:

The exercises in Figure I are in the key of F in 4/4 time; those in Figure II are in E, 6/8 time; and those in Figure III are in B{b}, 4/4 time on eighth notes. All text is from the original.]

FIGURE I.

[Music: Ascending. (Same figure tone higher.) (Again raised.) etc.]

[Music: Descending. (Same figure tone lower.) (Again lowered) etc.]

The next figure, in which the voice ascends or descends four tones at each progressive repetition, has a different rhythm.

FIGURE II.

[Music: Ascending. (Same figure raised.) (Again raised.) etc.]

[Music: Descending. (Same, tone lower.) (Still lower.) etc.]

Another exercise figure is to use five ascending and descending tones.

In the illustration which follows, in the key of B flat, it is shown how the exercises may be sung, beginning upon the keynote, and keeping within the voice-compass.

[Music: FIGURE III. etc.]

[Music: (Same Ex. inverted.) etc.]

These exercises are to be sung with vowel-sounds, softly, four measures with one breath, if possible, and in strict time.

Only so many of these tone-groups may be sung in any one scale, as lie within the extremes of pitch set for the grade, but if different scales and upward and downward extensions of the same be used, then all possible combinations of tones in the major scale may be sung, that is, these exercise figures may upon a piano be repeated seven times in _any_ key, in phrases of four measures each, both ascending and descending, but, owing to the limitations of the vocal compass, only a certain number of ascending or descending phrases can be _sung_ in any one key.

While it is suggested that drill upon these musical figures or groups of tones may be given from scales, the teacher tracing out the tones with a pointer with a rhythmical movement, yet it is still better to practice these groups or some of them from memory, the teacher keeping time for and directing the class.

[NOTE.--The directions given are for rooms in which the teacher has only a pitch pipe or tuning-fork to get pitch from. If there is a piano the drill work for tone will be conducted a little differently.]

Pages of musical phrases adapted to vocal drill might be given, but to what end except to produce confusion. Our greatest singers use but few exercises to keep their voices in good condition, but they practice them very often. The exercises suggested are intended for daily practice, and the fewer in number and simpler in form they are, the better will be the results in tone. This vocal drill which should precede or begin the daily music lesson must not be for over five minutes at most. Half of that time is enough, if it be spent in singing, and not frittered away in useless talk, and questions and answers. A practical application of the vocal drill is to be made to the note-singing from the book and chart, and to the school repertoire of songs.

The phrases voice-culture, voice-training, voice-development, etc., have been avoided in treating the subject of children's voices, because of possible misapprehension of their intended meaning. The terms are not, of course, inapplicable to children's voices, but they must convey quite a different significance than they do when applied to the adult voice. In each case, the end of voice-culture is the formation of correct vocal habits; but it would seem, that while it is possible to develop the adult voice very considerably in power, range and flexibility, we ought, in dealing with children's voices, to adopt those methods which will protect weak and growing organs. The aim is not more power, but beauty and purity rather. It should not be inferred that beauty of tone is not equally the aim in culture of the adult voice, but in that case it is consistent with development of strength and brilliancy of voice, while with young children it is not. If the tone is clear, beautiful, well poised, and under the singer's control, then the training is along safe lines. If the tone is bad, harsh, pinched or throaty, then the training is along unsafe lines. When the parts act harmoniously together, and there is a proper and normal adjustment of all the organs concerned in the production of tone, the result is good. Bad tone follows from the ill-adjustment of the parts concerned in voice production. It is the office of the teacher to correct this ill-adjustment and bring about a perfect, or nearly perfect functional action. The teacher must judge of the proper or improper action of the parts concerned in tone production by the sense of hearing. No accumulation of scientific knowledge can take the place of a careful and alert critical faculty in training voice. Tone color must guide the school teacher in determining register as it does the professional voice trainer. But we can also call the mental perceptions of the child to our aid, and will find a more lively sense of discrimination in tone quality than the average adult shows. We can encourage the growth of high ideals of tone-beauty. We can cultivate nice discrimination. We can, in short, use music in our schools not to dull, but to quicken, the musical sensibilities of childhood.