How to Sing by Lilli Lehmann (best books to read for knowledge .TXT) 📕

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 ā, ē, 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 ā,—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, ā, and ē. 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.

If he is skilful enough, the singer can impart a certain expression of feeling to even the most superficial phrases and coloratura passages. Thus, in the coloratura passages of Mozart's arias, I have always sought to gain expressiveness by crescendi, choice of significant points for breathing, and breaking off of phrases. I have been especially successful with this in the Entführung, introducing a tone of lament into the first aria, a heroic dignity into the second, through the coloratura passages. Without exaggerating petty details, the artist must exploit all the means of expression that he is justified in using.

Like the auxiliary verbs "will" and "have," ā, ē, and oo are auxiliary vowels, of whose aid we are constantly compelled to avail ourselves. It will perhaps sound exaggerated when I present an example of this, but as a matter of fact pronunciation is consummated in this way; only, it must not become noticeable. The method seems singular, but its object is to prevent the leaving of any empty resonance space, and to obviate any interruptions that could affect the perfection of the tone.

For example, when I wish to sing the word "Fräulein," I must first, and before all else, think of the pitch of the tone, before I attack the f. With the f, the tone must be there already, before I have pronounced it; to pass from the f to the r I must summon to my aid the auxiliary vowel oo, in order to prevent the formation of any unvocalized interstices in the sound. The r must not now drop off, but must in turn be joined to the oo, while the tongue should not drop down behind, tongue but should complete the vibrations thus, tongue in a straight line. (See plate.)

Fraulein

It is very interesting to note how much a word can gain or lose in fulness and beauty of tone. Without the use of auxiliary vowels no connection of the resonance in words can be effected; there is then no beautiful tone in singing, only a kind of hacking. Since it must be quite imperceptible, the use of auxiliary vowels must be very artistically managed, and is best practised in the beginning very slowly on single tones and words, then proceeding with great care to two tones, two syllables, and so on. In this way the pupil learns to hear. But he must learn to hear very slowly and for a long time, until there is no failure of vibration in the tone and word, and it is all so impressed upon his memory that it can never be lost. The auxiliary vowels must always be present, but the listener should be able to hear, from the assistance of the oo, only the warmth and nobility of the tone, from the a and e only the carrying power and brilliancy of it.

K, l, m, n, p, s, and r at the end of a word or syllable must be made resonant by joining to the end of the word or syllable a rather audible ĕ (eh); for instance, Wandele, Gretele, etc.

A thing that no one teaches any longer, or knows or is able to do, a thing that only Betz and I knew, and with me will probably disappear entirely, is the dividing and ending of syllables that must be effected under certain conditions. It may have originated with the Italian school.

I was taught it especially upon double consonants. When two come together, they must be divided; the first, as in Him-mel, being sounded dull, and without resonance, the syllable and tone being kept as nasal as possible, the lips closed, and a pause being made between the two syllables; not till then is the second syllable pronounced, with a new formation of the second consonant.

And this is done, not only in case of a doubling of one consonant, but whenever two consonants come together to close the syllable; for instance, win-ter, dring-en, kling-en, bind-en; in these the nasal sound plays a specially important part.

The tediousness of singing without proper separation of the syllables is not appreciated till it has been learned how to divide the consonants. The nasal close of itself brings a new color into the singing, which must be taken into account; and moreover, the word is much more clearly intelligible, especially in large auditoriums, where an appreciable length of time is needed for it to reach the listener. By the nasal close, also, an uninterrupted connection is assured between the consonant and the tone, even if the latter has to cease, apparently, for an instant.

I teach all my pupils thus. But since most of them consider it something unheard of to be forced to pronounce in this way, they very rarely bring it to the artistic perfection which alone can make it effective. Except from Betz, I have never heard it from any one. After me no one will teach it any more. I shall probably be the last one. A pity!

The practical study of singing is best begun with single sustained tones, and with preparation on the sound of ah alone, mingled with o and oo. A position as if one were about to yawn helps the tongue to lie in the right place.

In order not to weary young voices too much, it is best to begin in the middle range, going upward first, by semitones, and then, starting again with the same tone, going downward. All other exercises begin in the lower range and go upward.

The pupil must first be able to make a single tone good, and judge it correctly, before he should be allowed to proceed to a second. Later, single syllables or words can be used as exercises for this.

The position of the mouth and tongue must be watched in the mirror. The vowel ah must be mingled with o and oo, and care must be taken that the breath is forced strongly against the chest, and felt attacking here and on the palate at the same time. Begin piano, make a long crescendo, and gradually return and end on a well-controlled piano. My feeling at the attack is as shown in the plate.

At the same instant that I force the breath against the chest, I place the tone under its highest point on the palate, and let the overtones soar above the palate—the two united in one thought. Only in the lowest range can the overtones, and in the highest range the undertones (resonance of the head cavities and of the palate), be dispensed with.

With me the throat never comes into consideration; I feel absolutely nothing of it, at most only the breath gently streaming through it. A tone should never be forced; never press the breath against the resonating chambers, but only against the chest; and NEVER hold it back. The organs should not be cramped, but should be allowed to perform their functions elastically.

The contraction of the muscles should never exceed their power to relax. A tone must always be sung, whether strong or soft, with an easy, conscious power. Further, before all things, sing always with due regard to the pitch.

In this way the control of the ear is exercised over the pitch, strength, and duration of the tone, and over the singer's strength and weakness, of which we are often forced to make a virtue. In short, one learns to recognize and to produce a perfect tone.

attack

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In all exercises go as low and as high as the voice will allow without straining, and always make little pauses to rest between them, even if you are not tired, in order to be all the fresher for the next one. With a certain amount of skill and steady purpose the voice increases its compass, and takes the proper range, easiest to it by nature. The pupil can see then how greatly the compass of a voice can be extended. For amateurs it is not necessary; but it is for every one who practises the profession of a singer in public.

For a second exercise, sing connectedly two half-tones, slowly, on one or two vowels, bridging them with the auxiliary vowels and the y as the support of the tongue, etc.

Every tone must seek its best results from all the organs concerned in its production; must possess power, brilliancy, and mellowness in order to be able to produce, before leaving each tone, the propagation form for the next tone, ascending as well as descending, and make it certain.

No exercise should be dropped till every vibration of every tone has clearly approved itself to the ear, not only of the teacher, but also of the pupil, as perfect.

It takes a long time to reach the full consciousness of a tone. After it has passed