Part 6

It is true that with many, articulation is a difficult matter, and this is especially true on the high tones of the voice. No one who has heard the majority of the average opera and concert singers of the day, would be justified in holding that articulation is not a lost art. A free, distinct articulation and use of words in song, is the exception and not the rule. This is due largely to the following fact--with most singers there is direct or local effort on face, jaw, tongue and throat, during the act of singing; in other words, they grip the parts to hold the tone, and the higher or louder they sing, the firmer the grip or contraction. This virtually paralyzes action, and makes flexible articulation impossible. Articulation knows no pitch. It should be as easy on a high tone as on a middle or low tone. If there were no direct or local effort of the articulating muscles to hold the tone, articulation on the high tone would be as easy as on the middle or low tone. This is a fact which has been demonstrated again and again. Of course it is more difficult to learn to sustain the high tone without placing more or less effort upon the face, jaw, and throat; but under right conditions, the result of right position and action, this can be done, and has been done many times.

Articulation, to be artistic, must be spontaneous,--the thought before the action. Think and feel the effect desired, and give no thought to the action of articulation. The action, under right conditions, if there is no restraint, will respond to thought and feeling; it will be automatic and spontaneous. Just as the singer, after a certain stage of study, should never produce a tone that does not mean something, that has not character, so in the use of words, he should always sing them in a persuasive, impressive manner, and with free, flexible action. As, under this system, we never locally influence vowel form, so, after a certain stage of study we never locally influence consonantal action. To be right, it must be automatic and spontaneous.

Of course we recognize the fact that in all vocal study there must be a beginning. The pupil must be taught to know and think correct physical or mechanical action in singing. He must know what it is, what it means, and how to think it. Then it must be trained to respond to thought and will. This we call the first two stages of study, or the physical and mental. The mental, as the student progresses, must dominate and control the physical; and finally, as we have before stated, the true motor power is emotional energy or the singer's sensation. This order of study and development holds good in this fifth principle of artistic singing, as in all others.

The device to which we first resort for the understanding and development of articulation, is a study of the three points or places of contact. On page 183 of "Vocal Reinforcement" (by the author of this work) will be found a full explanation of these three points.

A vowel sound is the result of an uninterrupted flow of the vibratory air current. A consonantal sound, on the other hand, is the result of a complete obstruction and explosion, of a partial obstruction and explosion, or of a partial obstruction only. The place and manner of the obstruction and explosion, or of the obstruction only, determine the character of the sound. There are three points of obstruction or articulation:

1. The point of contact of the base or back of the tongue and of the soft palate.

2. The contact of the tip of the tongue and of the hard palate, the roof of the mouth.

3. The contact of the lips, or of the lower lip and the teeth.

Almost any first-class work on the elements of the English language will give the divisions and the location of the consonantal sounds. For the singing voice it is always best to simplify, hence we divide the consonantal sounds into two general divisions: the aspirates, those which are the result of complete obstruction and explosion, or of partial obstruction only, breath and vowel sound; the sub-vocals, those which are the result of partial obstruction and explosion, or of partial obstruction only, sub-vocal and vowel sound. The sub-vocals, as ending or final consonants, are the most difficult of all to give their proper value and effect.

The student of the voice should study, understand, and practically train the action of these three points or places of articulation; for at these three points, with a few exceptions, all consonantal sounds are made. Take all the consonants, and classify them in two columns, the aspirates or breath sounds in one column, and the sub-vocals in another. We will give one example of each kind, as made at each point or place of articulation. By the aid of vowels we form syllables, and thus simplify the study, and make it more definite. The study of consonantal sounds without the use of vowel sounds is very indefinite and unsatisfactory.

We give the formula for the study of articulation, as found in "Exercises for the Training and Development of the Voice" (by the author of this work), on page 18.

Ko-Ok--Aspirate. Thus: 1st Point. Go-Og--Sub-vocal.

To-Ot--Aspirate. 2d Point. Do-Od--Sub-vocal.

Po-Op--Aspirate. 3d Point. Bo-Ob--Sub-vocal

Exaggerate the consonantal sounds in every instance, and the points of contact or places of articulation will be very evident. It will also be evident that the point of contact or articulation is much more positive on certain aspirates than on the sub-vocals; while on a few other aspirates the action or obstruction is so slight that it is almost impossible to tell where or how they are made. They are the exception to the general rule. To such, however, very little attention or study need be given. Having studied the formula as given, classify the consonants in three columns, under the headings of 1st, 2d, and 3d points or places of articulation.

At a certain stage of study, when the student of the voice has acquired freedom and control, when he is able to release the face, jaw, tongue, and throat from all local effort or contraction,--at this stage of study it is wonderful what can be done in the way of articulation in a few days, by this system. I have known many singers who could produce beautiful tones, but who could not make themselves understood at all in the singing of a song; yet in a few lessons on these three points or places of articulation, practically applied by the use of words and sentences, they could sing the words of a song as distinctly as it was possible to speak them.

For the practical application of the above principles of articulation, form groups of vowel sounds, and make syllables by adding consonants, and sing them on single or level tones. First place the consonant before the vowel, making the articulation the initial sound of the syllable. Then place the consonant after the vowel, making the articulation the final sound of the syllable. Also sing sentences on single tones or level movements. Analyze all the consonantal elements of the sentence. Take for example the following sentence, "We praise Thee, O God," and notice at which point or place of articulation each and every consonant is made. Let all articulation be free, flexible, and light in movement, not heavy or labored. Never work with articulation; play with it, but let it be distinct and definite. Make no effort of face, lips, or tongue; let all be free and pliable. Show no effort or contraction of the face in sustaining voice or pronouncing words. In other words, never sing on the outside of the face. Mouth and face must be left free and pliable for the outline of form and for expression. Use words and sentences in an impulsive, impressive manner without local effort.

Articulation must be rhythmically in sympathy with the movement or the rhythm of the song. Even though the voice may flow freely on the vowels, the articulation must not be hurried, nervous or spasmodic. This style of articulation often disturbs the legato flow and spoils the general effect. While of course it is not possible to sing the consonantal sounds, a beautiful effect is often the result of playing upon the consonant rhythmically, with the movement of the song.

ARTICLE THREE.

THE SIXTH PRINCIPLE OF ARTISTIC SINGING.

The sixth principle of artistic singing is

_The Elocution of Singing._

_Theory._--The words and their meaning, in modern song, are, as a rule, more important than the music.

_Devices._--A study to combine elastic vowel form and flexible articulation, applied by the emphasis and accent of important words and phrases; also applied through the color and character of tone, and the impressive, persuasive, fervent voice. In short, a study of pure diction.

Every singer and teacher of singing should, in a certain sense, be an elocutionist as well. Not an elocutionist from the standpoint of many who are called elocutionists, who are stagey, full of mannerisms, and who exaggerate everything pertaining to elocution. Of course the better class of elocutionists are not guilty of these things; but they do idealize everything, whether they read, recite, or declaim, and this in their profession is a mark of true art. So must the teacher and singer learn to idealize not only the tone or the voice, but everything pertaining to the singing of a song. This must be done through the manner in which the sentiment, the thought, the central idea is brought out and presented to the hearer; through the impressive way in which the story is told.

The elocution of singing depends upon a knowledge and control of all the principles considered up to this point of study,--a knowledge and control of physical, mental, and emotional power, of freedom of form and action, of artistic vowel form and automatic articulation, of the removal of all restraint, in fact, of all true conditions of tone. To interpret well, the singer must have mastered the elocution of singing, must be able to bring out every vowel and consonantal element of the words, must know how to use and apply tone color and tone character, the impressive, persuasive, fervent voice. The singer must idealize not only the tone, but the words of the song; "just as the painter idealizes the landscape, so the musical artist must use his powers of idealization in interpreting the work of the composer." To be able to do this, his diction must be as pure, his language as polished, as that of the most accomplished orator.

The power of word vitality in the singing of a modern song, is one of the great elements of success, if not the greatest. Not an exaggerated form of pronunciation, but an intense, earnest, impressive way of bringing out the thought. It would be interesting to know what per cent of teachers and singers can read properly the words of a song; to know how many of them, or rather how few of them, have ever given this phase of the study, thought or attention. Most of them act as though they were really ashamed to try, when you ask them to read the words of a song, and when they read them, they apparently have no thought of expressing, or no idea of how to express the elevated thought or feeling, necessary to bring out the author's ideas. It is almost impossible to make them idealize the words through the elocution of singing; and yet in the artistic rendition of a song, a ballad, or a dramatic aria, the words are often of more importance than the music. The singer should study the story of a song by reading it aloud upon the highest plane or level of emotional or dramatic expression. To do this, he must know and apply the elocution of singing. Then he should endeavor to bring out the same lofty ideals when applying the words to the music.

"Why do not singers read or talk as they sing?" was a question once asked by a prominent elocutionist. "Why do not elocutionists sing as they talk or read?" I replied. This, of course, at once suggests an interesting subject for discussion. To give the reason in a general way, is simply to state that singers, as a rule, do not apply the principles of their art to the talking voice. Hence they often read and talk badly. The same is true, as a rule, of elocutionists. They do not apply the principles of their art when they attempt to sing.

The devices we use are a study of elastic vowel form and flexible articulation, applied by the emphasis and accent of important words in phrases and sentences. Then a study of the character and tone color necessary to express the meaning of the words. Then a use of the earnest, impressive, persuasive voice, as the text may demand. By using these forces or principles, as suggested by the thought and sentiment of the words, we arouse the emotional power, the magnetism of the voice, and thus influence the hearer. Through the elocution of singing we place our emotional, our personal expression upon a high and lofty plane. We thus express the central thought, the high ideals of the composer, and through the earnest, impressive voice impart them to the hearer.

ARTICLE FOUR.

THE SEVENTH PRINCIPLE OF ARTISTIC SINGING.

The seventh principle of artistic singing is

_Interpretation_.

_Theory_.--Singing means infinitely more than the use of words and music; it means the expression of the author's idea as a whole.

_Devices_.--The application of all true principles by drawing, as it were, a mental and emotional tone-picture, as suggested by words and music.

The following article upon this subject was kindly written, especially for this book, by my friend and pupil, the well known teacher, Mr. John Randolph.

Interpretation in song is the faithful reproduction of the intention of both poet and composer. This reproduction includes the revelation of the characteristics of the poem itself, whether lyric, dramatic, or in other ways distinctive. It also reveals the musical significance of the composition to which the words are set. The melodic, rhythmic, and even harmonic values must be made clear to the hearer. But interpretation includes more than this reproduction, essential though it may be. If the expression of the intention of poet and composer fulfilled the sum total of interpretation, one performance would differ little from another. A clear-cut, automatic precision would be the result, perhaps as perfect as the repetition given out by a music-box and certainly no more interesting. Another element enters into interpretation. The meaning of the poem and its accompanying music must be displayed through the medium of a temperament capable of self-expression. A personal subjective quality must enter into the performance. The singer must reveal not only the significance of words and music, but his own intellectual and emotional comment upon them. Upon this acceptance of the inner meaning of words and music, and upon his ability to weave around them some strands of his individuality, depend the character and originality of the singer's interpretation as a whole. Let us see how this comprehension of the meaning of songs may be acquired; upon what foundations rests the ability to make the meaning clear; and if we can do so, let us discover the springs of that elusive quality commonly called "temperament" which gives the personal note to one rendition as distinct from another, and without which the clearest exposition of vocal meanings becomes tame and colorless.

The singer is a specialist, but all successful specialization rests upon the broad foundations of general culture. The reason why there are so many singers and so few artists who thrill us with the revelation of the intimate beauties of the songs of Franz, Grieg, and MacDowell, to take only a few names from the rich list of song writers, is because people sing without acquiring the range of vision which makes such interpretation possible. How can one sing, let us say, a German song, imbued with German romanticism and melancholy, unless he knows something of the German art, the German spirit, the German language, the German national characteristics? A knowledge of literature, art in general, and the "Humanities," to use an old-fashioned word, is absolutely necessary to interpretation of a high order. Too often, alas, the singer imagines that the study of tone production, or acquaintance with musical literature, or a polished diction, will make him sing with the combination of qualities called style. Not so! Upon the broad foundations of general culture, which distinguishes the man of refinement from his less fortunate brother, rests also the specific ability to sing with distinction. Moreover, the singer must have definite musical ability, natural and developed by study. He must thoroughly comprehend rhythm, melody, and harmony in order that his attention may not be distracted from interpretative values to ignoble necessities of time and tune. It is not possible to sing Mozart, not to say Beethoven and Wagner, without acquaintance with the vocabulary and grammar of the wonderful language in which they wrote. Familiarity with the traditions of different schools of composition and performance is necessary also in order not to sing the songs of Bach and Handel like those of Schubert and Schumann, or Brahms like the modern French composers; in order not to interpret with like effects indiscriminately songs of the oratorio and opera, of Italian, German, French, English and modern Russian schools.

Unquestionably the singer must have control of the physiological and technical possibilities of his voice. No one can make words and music mean anything while he is wondering what his voice may do next. Developed intelligence, emotional richness and refinement, musical knowledge, a properly placed voice capable of flexibility and color, distinct articulation, polished diction, these are some of the preliminaries to successful interpretation in song.

Let us see what special qualifications assist in the actual performance of song, in the attempt to give pleasure or artistic gratification by singing songs for others to hear. In the first place let us consider the limitations as well as the advantages of the human voice. I must ask you to remember that considered as an instrument it is smaller in power than some instruments, shorter in range than many others, often less beautiful than the tones of the violin. But in one respect it transcends all others. It is capable of revealing the mind and soul of the one who plays upon it. The speaking voice, as well as the voice in song, reveals thought and feeling to the hearer; those subtler shades of meaning which distinguish man, made in the image of God, from his humble companions, are made clear to those about him by this instrument--this wonderful, persuasive, cajoling, beseeching, enthralling, exciting, thrilling, terrifying instrument! Have you not been moved by the tones of the speaking voice? How can we train the voice in song to express these varying shades of meaning, and can we learn to use them systematically instead of accidentally or when we are impelled by strong emotion? I know that there is a popular impression that some singers possess a mysterious quality known as "temperament," and that others do not. Having this uncertain quality, one singer stirs an audience; having it not, the hearer remains unmoved. If by temperament, intelligence and emotional richness of nature are meant, I do not believe that anyone who is not to some extent possessed of these faculties can stir the feelings of his hearers to any considerable degree. But surely many, almost all people capable of conquering the physiological, psychological, technical, and musical difficulties to be overcome before learning to sing at all well, possess these qualities. And even if modern songs of the best type abound in subtle, emotional expression and varying shades of intellectual significance, it is, I believe, possible for most singers to gain in interpretative facility by learning to connect the thought and feeling underlying the song with the spoken words which are their natural outlet and expression.

I say spoken words; for speech is the more spontaneous expression of thought and feeling, through which individuality attains its simplest and most complete expression. Speech is the normal method through which we make clear our ordinary thoughts, feelings, desires, repulsions, and attractions to those about us. Song is the finer flower of artistic expression, one of the means through which imagination and the creative and interpretative faculties find an adequate medium and outlet. But the words of the poem, whether spoken or sung, must first be thoroughly understood before the reader or singer attempts to make anyone else comprehend or feel them. Too often an apparent lack of "temperament" is only the failure to have a definite understanding of the meaning of the words the singer is vainly endeavoring to impress upon his audience. Let the singer recite or read aloud the words of his songs. This is a natural form of expression, and requires a less complex process of thought than singing, which demands several automatic reflexes in securing tone production; let him read aloud, trying to give out every shade of thought and feeling the poem contains, in a tone which is persuasive and appealing. Later, when he can do this with appropriate emphasis in speech, let him try to express the same meanings in his singing voice. In all probability he will find that he is much assisted by the music, if his tone production is reasonably correct and authoritative, and he be enough of a musician to grasp readily tonal values. The sense of the words, the emotion and thought underlying the words, will suggest the color and character of voice appropriate to the expression and interpretation of the song as a whole. Of course, if he tries to impress upon his hearer that he thinks it rather weak and foolish to give up completely to the full significance of the words, and to impersonate their narrative or dramatic significance, there is no help for him. I am inclined to think that the fear of seeming exuberant or foolish, the unwillingness to give one's inner self to others, or a self-consciousness which prevents it, is at the root of much apparent lack of "temperament." The singer must be both the narrator of the story of the poem and the impersonator of the principal characters in that story. Upon the completeness of his understanding of the meaning of the poem, and his revelation of its meanings, as well as upon the absence of stiffness or self-consciousness in suggesting the moods or characteristics displayed, will depend the impression of temperamental force upon his audience.

The following suggestions may be of some value as devices in making songs mean something; and this, after all, is the object of all attempts at interpretation.