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 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
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 of
the entire compass of a voice trained for artistic singing, one that
is intrusted with the greatest of tasks, to interpret works of art
that are no popular songs, but, for the most part, human tragedies.
Most male singers--tenors especially--consider it beneath them,
generally, indeed, unnatural or ridiculous, to use the falsetto,
which is a part of all male voices, as the head tones are a part of
all female voices. They do not understand how to make use of its
assistance, because they often have no idea of its existence, or know
it only in its unmixed purity--that is, its thinnest quality. Of its
proper application they have not the remotest conception. Their
singing is generally in accordance with their ignorance.
The mixture is present by nature in all kinds of voices, but singers
must possess the skill and knowledge to employ it, else the natural
advantage goes for nothing.
More
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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...