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

As long as the word "register" is kept in use, the registers will not disappear. And yet, the register question must be swept away, to give place to another class of ideas, sounder views on the part of teachers, and a truer conception on the part of singers and pupils.

Naturally, a singer can devote more strength to the development of one or two connected ranges of his voice than to a voice perfectly equalized in all its accessible ranges. For this are required many years of the most patient study and observation, often a long-continued or entire sacrifice of one or the other limit of a range for the benefit of the next-lying weaker one; of the head voice especially, which, if unmixed, sounds uneven and thin in comparison with the middle range, until by means of practised elasticity of the organs and endurance of the throat muscles a positive equalization can take place.

Voices which contain only one or two registers are called short voices, for their availability is as limited as they are themselves.

Yet it must be remembered that all voices alike, whether short or long, even those of the most skilful singers, when age comes on, are apt to lose their highest ranges, if they are not continually practised throughout their entire compass with the subtlest use of the head tones. Thence it is to be concluded that a singer ought always to extend the compass of his voice as far as possible, in order to be certain of possessing the compass that he needs.

On the formation of the organs depends much of the character of the voice. There are strong, weak, deep, and high voices by nature; but every voice, by means of proper study, can attain a certain degree of strength, flexibility, and compass.

Unfortunately, stubbornness enters largely into this question, and often works in opposition to the teacher. Many, for instance, wish to be altos, either because they are afraid of ruining their voices by working for a higher compass, or because it is easier for them, even if their voices are not altos at all.

Nowadays operas are no longer composed for particular singers and the special characteristics of their voices. Composers and librettists express what they feel without regard to an alto singer who has no high C or a soprano who has no low A flat or G. But the artist will always find what he needs.

Registers exist in the voices of almost all singers, but they ought not to be heard, ought not, indeed, to exist. Everything should be sung with a mixed voice in such a way that no tone is forced at the expense of any other. To avoid monotony the singer should have at his disposal a wealth of means of expression in all ranges of his voice. (See the Varieties of Attack and Dynamic Power.) Before all else he should have knowledge of the advantages in the resonance of certain tones, and of their connection with each other. The soul must provide the color; skill and knowledge as to cause and effect, management of the breath, and perfection of the throat formation must give the power to produce every dynamic gradation and detail of expression. Registers are, accordingly, produced when the singer forces a series of tones, generally ascending, upon one and the same resonating point, instead of remembering that in a progression of tones no one tone can be exactly like another, because the position of the organs must be different for each. The palate must remain elastic from the front teeth to its hindmost part, mobile and susceptible, though imperceptibly, to all changes. Very much depends on the continuous harmony of action of the soft and hard palate, which must always be in full evidence, the raising and extension of the former producing changes in the tone. If, as often happens when the registers are sharply defined, tones fall into a cul de sac, escape into another register is impossible, without a jump, which may lead to disaster. With every tone that the singer has to sing, he must always have the feeling that he can go higher, and that the attack for different tones must not be forced upon one and the same point.

The larynx must not be suddenly pressed down nor jerked up, except when this is desired as a special effect. That is, when one wishes to make a transition, legato, from a chest tone to a tone in the middle or head register, as the old Italians used to do, and as I, too, learned to do, thus:—

music

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In this case the chest tone is attacked very nasal, in order that the connection may remain to the upper note, and the larynx is suddenly jerked up to the high tone. This was called breaking the tone; it was very much used, and gave fine effects when it was well done. I use it to-day, especially in Italian music, where it belongs. It is an exception to the rule for imperceptible or inaudible change of position of the organs,—that it should not be made suddenly.

The scale proceeds from one semitone to another; each is different; each, as you go on, requires greater height, wherefore the position of the organs cannot remain the same for several different tones. But, as there should never be an abrupt change audible in the way of singing, so should there never be an abrupt change felt in the sensations of the singer's throat. Every tone must be imperceptibly prepared in an elastic channel and must produce an easy feeling in the singer, as well as an agreeable impression upon the listener.

The small peak indicated in the illustration is enormously extensible and can be shifted into infinite varieties of position. However unimportant its raising and lowering may appear, they are nevertheless of great importance for the tone and the singer. The focal point of the breath, that forms simultaneously the attack and the body of the tone, by the operation of the abdominal breath pressure against the chest, is always firmly placed on, beneath, or behind the nose. Without body even the finest pianissimo has no significance. The very highest unmixed head tones are an exception, and they can express nothing. There can be no body expected in them. Their soaring quality of sound endures no pressure, and consequently gives no expression, which is possible only through an admixture of palatal resonance. Their only significance is gained through their pure euphony.

All vowels, too, must keep their point of resonance uninterruptedly on the palate. All beauty in the art of song, in cantilena as well as in all technique, consists chiefly in uninterrupted connection between the tone and the word, in the flexible connection of the soft palate with the hard, in the continually elastic adjustment of the former to the latter. This means simply the elastic form, which the breath must fill in every corner of resonating surface without interruption, as long as the tone lasts.

softest point on palate

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If the singer will control his tone,—and in practising he must always do so,—he needs only to test it to see whether he can easily make it softer without perceptible change in the position of the organs, and carry it higher toward the nose and the cavities of the forehead; that is, prepare a form for its continuation upward.

In this way he can learn how much height a tone needs without being too high, and how much it often lacks in height and duration to sound high enough.

In this way remarkable faults become evident! The reason why a tone sounds too low—the so-called transition tones from the lower to the middle range and from this to the higher, come up for consideration chiefly—is that the pillars of the fauces are raised too high toward the back, preventing the head tones from sounding at the same time; or the soft palate is lowered too far under the nose, which results in pressing the tone too long and too far toward the teeth. This fault is met with in very many singers, in all kinds of voices, and in almost the same places. It comes only from an unyielding retention of the same resonating point for several tones and a failure to bring in the resonance of the head cavities. The "propagation form," or continuing form,[2] must always be prepared consciously, for without it artistic singing is not to be thought of.

The neglect of this most important principle usually results in overstraining the vocal cords and throat muscles. This is followed first by singing flat, and later by the appearance of the hideous tremolo (see Tremolo) to which so many singers fall victims. The cause of a tone's being too sharp is the dwelling too long on the resonance of the head cavities, where the tone should already have been mixed with palatal resonance. With very young voices this can easily happen, and can also result from weariness, when the bodily strength is not developed sufficiently to endure the fatigue of practising. A very circumspect course must then be followed.

There are also singers, male and female, who use too much head tone through their entire compass; such voices are called "white." Their use of the palatal resonance being insufficient, they are not able to make a deeper impression, because their power of expression is practically nothing. Frau Wedekind and Madame Melba are instances of this. In such cases it would be advisable to raise the pillars of the fauces a little higher, and place the larynx somewhat lower, and to mingle judiciously with all the other vowels, the vowel sound oo, that requires a lower position of the larynx. The voices would become warmer and would sound more expressive. As soon as the singer is able to create easily and inaudibly on every tone the correct propagation form for the next tone, all questions as to register must disappear. He must not, however, be drilled on registers; several tones must not be forced on one and the same point. Every tone should be put naturally into its own place; should receive the pitch, duration, and strength it needs for its perfection. And one master rules it all,—the ear!

The goal is, unfortunately, so seldom reached because it can be reached only through the moderation that comes from mastery; and, alas! only true masters practise it.

It may be accepted as true that the lower ranges of the voice have the greatest strength, the middle ranges the greatest power of expression, the higher the greatest carrying power.

The best mixture—all three together—may be developed to the highest art by the skill of the individual, often, indeed, only by a good ear for it. Whenever expression of the word's significance, beauty of the vocal material, and perfection of phrasing are found united in the highest degree, it is due either to knowledge or to a natural skill in the innumerable ways of fitting the sung word to the particular resonance—connections that are suitable to realize its significance, and hence its spirit. They are brought out by a stronger inclination toward one or the other of the resonance surfaces, without, however, injuring the connection or the beauty of the musical phrase. Here aesthetic feeling plays the chief part, for whatever may be its power and its truthfulness, the result must always be beautiful,—that is, restrained within proper limits.

This law, too, remains the same for all voices. It is a question