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 ar
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 laesst hier Aufruhrstimmen, Kriegsruf ertoenen, wollt Ihr die
Goetter zwingen, Eurem Wahnwitz zu froehnen? Wer wagt vermessen,
gleich der Prophetin der Zukunft Nacht zu lichten, wollt Ihr der
Goetter Plan vorschnell vernichten? Nicht Menschenkraft Koennen
die Wirren dieses Landes schlichten.
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 cooeperation 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, ue, and ah the palate is
arched higher (the tongue forming a furrow) than with [=a], [=e],
and ue, 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.
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 Entfuehrung, 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.
More
-
Auxiliary Vowels
Like the auxiliary verbs will and have, [=a], [=e], 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 pronunciatio... Before The Public
In the wide reaches of the theatre it is needful to give an exaggeration to the expression, which in the concert hall, where the forms of society rule, must be entirely abandoned. And yet the picture must be presented by the artist to the public f... Concerning Expression
When we wish to study a role or a song, we have first to master the intellectual content of the work. Not till we have made ourselves a clear picture of the whole should we proceed to elaborate the details, through which, however, the impression o... 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... Development And Equalization
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 observatio... Equalizing The Voice; Breath; Form
Through the lowering of the pillars of the fauces, which is the same as raising the soft palate, the outflowing breath is divided into two parts. I have sketched the following representation of it:-- Division of the breath. By raising the ... Extension Of The Compass And Equalization Of Registers
The whole secret of both consists in the proper raising and lowering of the soft palate, and the pillars of the fauces connected with it. This divides into two resonating divisions the breath coming from the source of supply, and forced against th... How To Hold One's Self When Practising
In practising the singer should always stand, if possible, before a large mirror, in order to be able to watch himself closely. He should stand upright, quietly but not stiffly, and avoid everything that looks like restlessness. The hands should h... In Conclusion
The class of voice is dependent upon the inborn characteristics of the vocal organs. But the development of the voice and all else that appertains to the art of song, can, providing talent is not lacking, be learned through industry and energy. ... Interpretation
Let us return to the subject of Expression, and examine a song; for example, Der Nussbaum by Schumann. The prevailing mood through it is one of quiet gayety, consequently one demanding a pleasant expression of countenance. The song picture m... 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]... My Purpose
My purpose is to discuss simply, intelligibly, yet from a scientific point of view, the sensations known to us in singing, and exactly ascertained in my experience, by the expressions singing open, covered, dark, nasal, in the head, or in the neck... My Title To Write On The Art Of Song
Rarely are so many desirable and necessary antecedents united as in my case. The child of two singers, my mother being gifted musically quite out of the common, and active for many years not only as a dramatic singer, but also as a harp virtuoso,... Nasal Nasal Singing
By raising the back of the tongue toward the soft palate and lowering the soft palate toward the tongue, we produce nasal sound, such as is heard in the pronunciation of the word hanger, for instance. The air is then expelled chiefly through the n... Of The Breath
The breath becomes voice through the operation of the will, and the instrumentality of the vocal organs. To regulate the breath, to prepare a passage of the proper form through which it shall flow, circulate, develop itself, and reach the neces... Of The Breath And Whirling Currents
(SINGING FORWARD) The veriest beginner knows that in order to use the breath to the fullest advantage, it must remain very long diffused back in the mouth. A mistaken idea of singing forward misleads most to press it forward and thus allow it t... On Vocal Registers
What is a vocal register? A series of tones sung in a certain way, which are produced by a certain position of the vocal organs--larynx, tongue, and palate. Every voice includes three registers--chest, middle, and head. But all are not employed... Practical Exercises
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 ... Preliminary Practice
It is very important for all who wish to become artists to begin their work not with practical exercises in singing, but with serious practice in tone production, in breathing in and out, in the functions of the lungs and palate, in clear pronunci... 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 t... Resonant Consonants
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 [)e] (eh); for instance, Wandel^e, Gretel^e, etc. A thing that no one teaches any longer, or knows or ... Sensation And Position Of The Tongue
We feel the placing of its tip against or beneath the front teeth; and place the tip very low, so that it really curves over in front. (See plate.) Its hinder part must be drawn back toward the palate, in the pronunciation of every letter. F... Singing Covered
We sing covered as soon as the soft palate is lowered toward the nose (that is, in the middle register), and the resonance and attack are transferred thither so that the breath can flow over the soft palate through the nose. This special functi... Singing Toward The Nose Head Voice
When the peak of the softest part of the palate is placed forward toward the nose, instead of being drawn up high behind the nose, as in the head voice (see plate, head voice and nasal tone), it forms a kind of nasal production which, as I have al... The Attack
To attack a tone, the breath must be directed to a focal point on the palate, which lies under the critical point for each different tone; this must be done with a certain decisiveness. There must, however, be no pressure on this place; for the ov... The Cure
There are no magic cures for the singer. Only slowly, vibration upon vibration, can the true pitch be won back. In the word soaring lies the whole idea of the work. No more may the breath be allowed to flow uncontrolled through the wearied vocal c... The Great Scale
This is the most necessary exercise for all kinds of voices. It was taught to my mother; she taught it to all her pupils and to us. But I am probably the only one of them all who practises it faithfully! I do not trust the others. As a pupil one m... The Head Voice
The head tone signifies, for all voices, from the deepest bass to the highest soprano,--excepting for the fact that it furnishes the overtones for each single tone of the whole vocal gamut,--youth. A voice without vibrancy is an old voice. The mag... The Highest Head Tones
As we have already seen, there is almost no limit to the height that can be reached by the pure head tone without admixture of palatal resonance. Very young voices, especially, can reach such heights, for without any strain they possess the necess... 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 wh... 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]... The Sensation Of The Resonance Of The Head Cavities
The sensation of the resonance of the head cavities is perceived chiefly by those who are unaccustomed to using the head tones. The resonance against the occipital walls of the head cavities when the head tones are employed, at first causes a very... The Sensations Of The Palate
The sensations of the palate are best made clear to us by raising the softest part behind the nose. This part is situated very far back. Try touching it carefully with the finger. This little part is of immeasurable importance to the singer. By ra... The Singer's Physiological Studies
Science has explained all the processes of the vocal organs in their chief functions, and many methods of singing have been based upon physiology, physics, and phonetics. To a certain extent scientific explanations are absolutely necessary for the... The Tongue
Since it is the function of the tongue to conduct the column of breath above the larynx to the resonance chambers, too much attention cannot be given to it and its position, in speaking as well as in singing. If it lies too high or too low, it may... The Tremolo
Big voices, produced by large, strong organs, through which the breath can flow in a broad, powerful stream, are easily disposed to suffer from the tremolo, because the outflow of the breath against the vocal cords occurs too immediately. The brea... 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 h... Theodor Wachtel
The most perfect singer that I remember in my Berlin experience was Theodor Wachtel in this respect, that with his voice of rare splendor, he united all that vocal art which, as it seems, is destined quite to disappear from among us. How beautiful... Trill
There still remains the trill, which is best practised in the beginning as follows:-- The breath is led very far back against the head cavities by the [=a], the larynx kept as stiff as possible and placed high. Both tones are connected as clo... Velocity
Singers, male and female, who are lacking velocity and the power of trilling, seem to me like horses without tails. Both of these things belong to the art of song, and are inseparable from it. It is a matter of indifference whether the singer has ... White Voices
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 pow...