The true resonance-chamber then, as we have found, is from head to chest; sympathetically the resonance of the entire body must be added. The true artist sings with the body, through the throat, and never with the throat. In this way the entire singer is the instrument. Fill the body with sound. The higher the tone the more elongated the form. Nature demands this. If this does not occur contraction and depression are sure to follow. Also the higher the tone the lower the added resonance, when the conditions are right. In this way the form elongates and the compass expands without effort or strain. These ideas studied through flexible movements are truly wonderful, but natural means for expanding the compass of the voice.

Much has been written lately on the subject of open tones. Should the tones be opened or closed, is the question. Tone should never be closed. It should always be open, but never out. If it is out of the mouth it is not a singing sound. Even the real covered tones of the voice should never be closed. The truth is, the form of the covered tones of the voice, through elongation, is larger than the form of those which we call the open tones, in contradistinction to the covered.

In the clear timbre of the voice, the bright tone, the ring of high placing, predominates. In somber timbre, the dark tone, low resonance, or low color, predominates. In medium tone both are heard or felt more equally. None of this coloring or reinforcing must be done by locally influencing form or placing. The voice must be perfectly free; and the result must be due to sentiment, feeling, emotion, to the effect it may be desired to produce. If all restraint is removed, if true conditions prevail, this can always be done through the singer's sensation, through the use of the third power. It is marvelous how, under right conditions, the voice will respond to thought, to sentiment, to feeling.

"The tone thus produced and thus delivered, with perfect breath-control, will set the whole body sympathizing, from the sole of the foot to the crown of the head. And it is only tones like these—that it is possible to so adorn, and decorate, and beautify, with the due amount of emphasis, and accurate intensity of emotional feelings, and exquisitely shaded and ever-varying tinges of color in expression—that can prove capable of captivating the heart of the hearer, that can graphically impress the listener with such sentiments as the vocalist desires to convey."

We will take for our first study a single tone about the middle of the voice. In studying placing and resonance, we must of course observe all the rules laid down in regard to the action, position, etc. Do not take a voluntary breath before acting—do not start the tone before the action, two things which require constant watching on the part of the beginner. Either of them will virtually cause defeat.

Remove all obstruction by seeking the level of the tone through flexible action. Think the tone forward and high. Place by impulse, and never by local effort. Have the sensation as though the tone started forward and high, as though it impinged against the roof of the mouth, and instantly reflected into the low cavities, and especially into the chest. In doing this, relax the jaw, let go all face and throat contraction, expand the body, and think and feel the chest vibrant and filled with tone. In this way the tone may be started high and reinforced or built down by the added resonance of all the inflated cavities.

Another way to do this, is to start the tone spontaneously by impulse through correct action; in doing so, think and feel as though the tone placed and reflected at the same instant, forward against the roof of the mouth and on the chest,—as though the contact or impingement of the tone were felt at both places simultaneously. Of course the high forward placing in mouth and face is the true placing, and the sensation on the chest is the action or reflection of the true placing. This can be done through flexible vitalized action alone. With a tight throat or local muscular effort it is impossible. This is perfect attack, and in this way all force and push are avoided. In this way freedom and inflation are secured, that condition which unites head and chest resonance.

Think of a rubber pouch filled with air. Imagine you grasp it in the middle with the hand, and close the hand tight. The upper part of this pouch represents the face and high forward placing. That below the hand, or the lower part, the chest resonance. The hand holding the middle of the pouch represents the throat. So long as the hand contracts tightly the middle of the pouch, there is no connection between the air in the upper and lower parts of the pouch. If the desire is to connect these two parts, relax the hand a little, and allow an opening or a free passage between them. In singing, the same relaxation or opening must occur at the throat, if the desire is to connect the ring of high placing with the resonance of the low cavities. If the desire is to reinforce, to build down, the extrinsic muscles of the throat must relax, and the throat must expand.

In thus placing and reinforcing tone, the pupil is guided or assisted not only by the sense of hearing but by the sense of feeling. There will be the sensation of freedom, of ease, of power; a feeling as though the entire body from the head down to the waist were open and filled with tone. Remember, however, this important fact, that it is possible to lift and expand, and even to let go, and yet not to influence the tone. We can act well and yet sing with a common tone. The pupil must think and feel the tone, must think and feel the effect desired. The thought must precede the action.

This point is worthy of all consideration,—right thought or right feeling assists the tone in every way, has, in fact, a wonderful influence in developing right action. The idealized tone brings into action more of the true powers of the singer than it is possible to do in any other way.



This study lends itself easily and naturally, not only to the development of high placing, but to correct bodily action.

Sing the first tone staccato, placing the body upon a level with the tone as described. Then from the level of this first tone, through flexible vitalized action, carry the body spontaneously or by impulse to the level of the upper tone; the air current or the tone should strike the roof of the mouth well forward and instantly reflect into the low cavities. In this way all true conditions are secured, and the voice is allowed to sing instead of being made or compelled. There must be a very free lift, expansion, and let go between the first and the upper tone. Do not let the second tone start until its level is reached, or the effect will be spoiled, or at least modified. All this must be done rhythmically, which means without the least hesitation, or without the sensation of haste. To hesitate compels local effort. To hurry disturbs all true conditions. This is a very valuable exercise, if understood.



This study is virtually the same as the sixth, except that the voice is not suspended or arrested between the first and second tones. This exercise must be studied with the same action and the same impulse as the sixth study. Some singers can get placing and reaction better on this study than on the sixth.



Find the level of the first tone as suggested, using hands and body; move down, hands and body going with the tone, while singing the first three notes of this exercise; then, without stopping or hesitating, reverse the action or the movement, by lifting hands and body, and opening wide by dropping the lower jaw, while singing the last three notes. Of course the voice must sing from the highest to the lowest note with a continuous legato flow. The movement of the body down with the first three notes and the reverse action, moving up and out on the last three, must be smooth and continuous. If this is done properly the reverse action will give a wonderful sensation of freedom, openness, and the power of low added resonance. It demonstrates forcibly what is meant by placing up and building down.

This is the great idea or the great movement for developing the low tones in all voices. When the low tones are thus developed by expansion, but without effort, the same idea of freedom and low resonance can be carried into the high tones. This can be done especially well and easily on exercises six and seven. The higher the tone the lower the resonance should be if the object be a full beautiful, free tone.



Place yourself upon a level with the first tone as suggested, and allow the tone to start spontaneously, striking, as it were, the roof of the mouth and the chest simultaneously. Move body and hands down with the voice to the low tone, and then instantly but rhythmically, lift back to the level of the upper tone. Feel as though you were under the tone with body and hands in moving up, and let the tone strike by impulse, the roof of the mouth, and instantly reflect into the chest. Practice this exercise until it can be done with perfect freedom of form and action.

In starting the first tone in all these exercises, feel the vibration in the face, on the forehead, and on the cheek-bones. If this is done without pushing, but by flexible action, a sympathetic vibration can be felt through the entire body.

A very effective and successful study of high placing and low resonance may be got through a consideration of the natural placing and resonance of the vowel sounds. As I have written so fully on the vowel sounds in my former works, I shall simply touch upon that important question here.

E as in reed is naturally the highest placed vowel in the English language. U or oo as in you or do is naturally the lowest in color. Sing E with the freedom of action as suggested, and think it high in the face. Make no effort to influence the form. The form of E is naturally very small. E will be found in this way to be free and bright, not hard and wiry. Sing oo in the same way. The form of oo is also very small. Oo should have a flute-like sound. It will be found that in E high resonance predominates. In oo low color. In studying the vowels the aim should be to equalize them by placing, reinforcing, and coloring them as nearly alike as possible. In this way they are equalized instead of differentiated.

Place E as suggested, and color it by the thought and influence of the low resonance of oo. Sing oo as suggested, and brighten it by the thought, influence, and high placing of E. In this way study all other vowels, influencing them by the high placing of E and the low resonance of oo. The high ring and brightness of the reed sounds of the voice, must be modified and influenced by the color and low resonance of the flute sounds. The flute sounds of the voice must be made more brilliant and free by the influence of the high placing and high resonance of the reed sounds. In this way we equalize all the vowels until, in a certain sense, they all have the same color and quality and sound, as though they belonged to one and the same voice. For a further study of high placing, use the second sound of O, or, as some writers classify the vowels, the second sound of U,—the sound of uh as heard in up. This is the highest, narrowest, and most elongated arch form in the English language; consequently it is, for many voices, the most favorable sound for the study of high placing.

All vowel sounds, like all tones of the voice, are reinforced sounds. The tendency of most singers is to sing the reed sounds too white and the flute sounds too dark. By properly distributing brilliancy and color we influence and modify all the vowels without losing their character or individuality.



PART THIRD.

AESTHETICS.



ARTICLE ONE.

THE FOURTH PRINCIPLE OF ARTISTIC SINGING.

The fourth principle of artistic singing is

Emotional or Self-Expression.

Theory.—Vitalized emotional energy, the "Singer's Sensation," is the true motor power of the voice.

Devices.—A study of tone-color and tone-character; the idealized tone, applied and developed by the use of words and sentiment.

The student of the voice who has studied, understood, and, to a certain extent, mastered the first three great principles of voice production—the removal of all restraint, automatic breathing, high placing, and low resonance—has certainly accomplished much. He has aroused and developed the physical and mental vitality of the singer, the vitality and energy of body and mind. This is the limit of progress or development with many, at least so far as actual tone study is concerned.

There comes a time, however, in the experience of every student of the voice, a stage of the study, when, if he expects to be an artist, he must take a step in advance, a step higher; he must place himself upon a higher plane or level; he must arouse his true inner nature, the singer's sensation, that which we have called the third power. This is done by a study of emotional, or self-expression. It is done through arousing and vitalizing the emotional energy. Vitalized emotional energy, the singer's sensation, is undoubtedly the true motor power of the artist.

At just what stage of development the consideration of this higher form of study or expression should be placed before the mind of the pupil, is a question. Singers are so different, physically, mentally, and emotionally. With some I have found it best not to consider this side of the question until they have developed a fair vocal technique. This should be the case with emotional, nervous, excitable temperaments. With hard, cold, stiff, mechanical pupils, this is often the only way in which it is possible to arouse them, in order to give them a start, without wasting weeks or months of precious time.

The development of this principle of vitalized, emotional energy, depends, as a rule, upon freedom of voice and the true conditions of tone as before described. Therefore, in order to study this great question, in order to fully develop this higher form of expression, the singer must have mastered the flexible, vitalized movements given in this work, must have acquired through these movements absolute freedom of tone. Experience teaches us, however, that there are those who, while they learn, in a certain way, to do the movements comparatively well, yet do not entirely let go,—they do not free the voice. With such the study of tone color, and especially the study of soft color, not soft tone necessarily, but soft, emotional tone color, is their only salvation. It releases and relaxes all the rigid local tendencies.

There is a stage of study, as we have said, in the experience of all students of the voice, when, in order to become artists, Nature demands of them more than mere sound. There comes a time when every tone of the voice must mean something, must express something, through the character of the tone, the idealized tone. In this way the personal magnetism of the singer is imparted, heard, and felt. This means the expression of thought and feeling through the color and character of the tone, the highest known form of expression. This principle is the greatest known agency for the development of all the powers of the singer, not only the emotional and mental powers, but the physical as well. The student of the voice who studies or who is trained in this way, develops, not only in character and beauty of tone, but in actual physical power and control. This study of tone color and tone character develops new power in every way. "The mechanical and mental alone are but half development, but this is full and complete development of the entire being." In proof of this, sing a light, bright, happy thought or tone, using the clear timbre, about the middle of the voice. It will require but little strength. Then sing a more emotional thought, sentence, or tone; express deeper feeling, and it will be found that more strength is required. Again, give utterance to tone or words which express sadness, sorrow, or intense pleading, using the somber timbre of the voice, and much more strength will be required. This will be especially noticeable in the action or energy of the diaphragm and abdominal muscles. It will be found that the low muscles of the body exert more strength on somber timbre than on clear tone. This, in order to induce the deep, low setting of the voice at the organ of sound, necessary for the production of somber or dark tone, and the expression of deep, emotional feeling. It is easy to see that this means greater physical as well as emotional development; physical development, not only of every muscle of the body, but of the organ of sound itself; a development which can be attained through the study of tone color and emotional expression only.

The power of vitalized emotional energy, I might say the power of the emotional power, cannot be overestimated. The power of an emotional climax, imparted through the soft color of the voice, is often greater than that of the dramatic climax; it will often influence and affect an audience in the most startling way. We find that thought and will control all physical action in singing. If the thought is right, the action will be right; if wrong, the action will surely be wrong. When right thought and action have developed absolute freedom, then the emotional energy, the singer's sensation, the true power of the voice, should dominate everything. The mind or will controls the body through thought, but the thought must be aroused through feeling or emotion; and the feeling or emotion is inspired by the sentiment to be expressed. This means, of course, the higher form of expression, means the power of tone color and tone character; but it depends first upon all true conditions of tone, mental and physical, and then upon the temperament, upon the heart, and soul of the singer.

Singing, as we have said, is more psychological than physiological. This whole system of flexible, vitalized movements, is first aroused by right thought, and finally applied and controlled through the mind or will, in response to feeling or emotional impulse. In this way we are able to arouse and use at will the persuasive, the impressive, the fervent voice; the voice that is something more than mere sound; the voice that has character and magnetism.

Compare two voices that are equal in every way in regard to power of tone, compass, and control. The one varies the color and character of the tone continually with the change of thought and sentiment, and is enabled thereby not only to avoid monotony, but to use the impressive, persuasive voice, the tone the sentiment demands. In this way he has magnetic power and influence over an audience. The other voice may be bright, free, and clear, yet may use the same quality or color of tone constantly on all styles of singing, and on all degrees of power, it matters not what the thought or sentiment may be; and this style of voice is by no means uncommon, even among many of our public singers. Now consider the difference in the commercial value of these two voices, which should bear at least some relation to their artistic value. No artist can be truly great or fully developed without the power of vitalized, emotional energy, and variety of tone color and character.

Sing a tone, about the middle of the voice, without other thought than that of simply pure, free tone. It will be found that in the most beautiful voice the tone will be common-place, meaningless; in many voices it will be simply sound. Now place yourself in every way upon a higher, a more lofty plane. Think of higher ideas and ideals. In other words, idealize the tone. Remember, the ideal is the truth, and not exaggeration. Appeal to your emotional energy, the singer's sensation, and give expression to thought and feeling aroused in this way. Give expression to an actual life-throb, whether it be of love or hate, of joy or sadness, of ecstasy or despair. The result, the change of tone, character, and quality, will be astonishing, will ofttimes be electrifying. In this way make the tone actually mean something. Feel like a singer, assert yourself, express thought, sentiment, feeling, emotion, and not simply sound.

Simple sound, as a rule, is meaningless and unnatural. Nature demands, for the expression of beautiful, artistic tone, that all the powers she has given the singer—the powers, physical, mental, and emotional—be brought into action and put into the tone. Character and magnetism of tone must be aroused in most voices. This cannot be done through the mechanical and mental powers alone. It requires the study and development of the emotional energies of the singer. In other words, the singer must put himself, not only upon a physical and mental level, but upon the emotional level of the tone as well.

All voices have two distinct color or character effects, the reed and the flute. These effects are the result of vowel forms, and of the predominating influence of high placing or of low resonance. When we desire brilliancy, the reed effect should predominate. When we desire dark color or more somber effects, the flute quality should prevail. In clear tone or timbre there is more reed effect than flute. In medium tone or color the effect of both is heard and felt. In the somber tone the flute predominates. To express joy or happiness we use the clear timbre, and the ring of high forward placing predominates. To express a deeper feeling, a more serious but not a sad tone, that which we call the emotional form, both the clear and the somber are heard in various proportions; the high placing and the low resonance are about equally balanced. To express sadness the somber color or low resonance predominates.

Apply these ideas on all the exercises given. Use sentences which contain thought or sentiment that will enable you to arouse a definite feeling. For example, to study the clear timbre, sing, "My heart is glad." To express the emotional tone, the tone which is not sad but serious, sing, "My heart is thine." To express a somber sound or sadness, sing, "My heart is sad." To express a ringing, dramatic tone, sing, "Thy heart is false." Thus we express four different effects on the one word, "heart."

This subject of emotional expression through tone color and tone character is so great, so important, that it is impossible to do it justice in this little work. I have written more fully on this and kindred subjects in my other works, therefore I shall here touch but lightly upon the aesthetics of the vocal art.

It should be remembered that the prime object for which this book was written, was to place more clearly, if possible, before my readers, the importance and wonderful influence of the flexible, vitalized movements of our system.

These movements, we find, so directly influence the voice, the singer, and the results in every way, that we feel justified in again calling attention to them. Too much cannot be said of them, for the average student of the voice is inclined to neglect them. If they have been, to a certain extent, understood and mastered, then the study of this, the fourth principle of artistic singing, becomes a comparatively easy matter. With the student who does not understand them, emotional or self-expression is always a difficult matter, and with many an impossibility; which largely accounts for the great number of mechanical singers. At least twenty years' hard work and study have been put upon these movements in order to reduce them to the simplest and most effective form. They are based upon common sense and Nature's laws. Of course no one can or should expect to understand or fully appreciate them without more or less investigation.



ARTICLE TWO.

THE FIFTH PRINCIPLE OF ARTISTIC SINGING.

The fifth principle of artistic singing is

Automatic Articulation.

Theory.—Articulation must be spontaneous, the result of thought, and of the effect desired, never of direct or local effort. The thought before the action, never the action before the thought.

Devices.—The development of the consonantal sounds through the study of the three points or places of articulation, and the application by the use of words, sentences, and sentiment, vitalized and intensified.

In our course of study or in the formula here given, it will be evident to the reader that we lay much stress upon the principle of vitality or vitalized energy. In the second part of this work we have considered the principles and the devices that develop physical and mental vitality. In the article which directly precedes this, special emphasis is placed upon emotional vitality. Vitality or vitalized energy, it will be found, holds good also in this, the fifth fundamental principle of artistic voice production.

Articulation, to be artistic, must be automatic and spontaneous; must be the result of thought and effect desired, and never of direct or local effort. This being true, we must recognize the importance of freedom of form and action, of the removal of all restraint, in fact, the importance of all true conditions of tone. This brings us back again to our original position, as do all the fundamental principles of singing; namely,—the importance of the free, flexible movements of our system, upon which freedom of form and action, in fact, all true conditions of tone, depend.

Language, spoken language, has been considered by many a vocal weakness. Scientists have contended that the consonantal sounds weaken the resonance and power of the vowels. We have found the opposite to be true. We have found that the consonantal sounds in many ways are a wonderful help in developing the voice. This proves that which some one has so well said, "The demonstrations of yesterday are the falsehoods of to-day."

A free, flexible articulation of the consonantal sounds helps to place the voice, and gives it life and freedom. Articulation, under right conditions, will not interfere with the legato flow of voice. It is not necessary, as many suppose, to sacrifice distinct utterance in song for the sake of the legato flow of voice, the most desired mode of singing. On the other hand, the free legato flow of the vowels need not interfere at all with distinct articulation. The voice is composed of two separate and distinct instruments, the organ which produces sounds or vowels, and the articulating organ which produces consonants. These two instruments, when properly trained, strengthen, complement, and support each other, and together they mold vowels and consonants into speech.

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.

Suppose you take a new song—one you have never seen before. Do not sit at the pianoforte, and play at it and sing at it until, after a fashion, you know it. This way of learning leads to the kind of statement recently heard after a peculiarly bad performance, "Why, I never think of the words at all when I sing!" Instead of doing this, if you have been taught to do so, read the song through, observing its general character. If thinking music without playing or singing be impossible for you, play it over, carefully noting tempo and other general characteristics, until you have an understanding of the melody, rhythm, and musical content. Observe how the words fit the music, still without singing. Then read the poem silently and carefully, and decide whether it is narrative, lyric, dramatic, churchly, or in other ways distinctive. Next read the poem aloud, giving the voice character appropriate to its sentiment, phrasing it intelligibly, observing the emotional portent, and coloring it accordingly. If the poem be narrative, tell the story with life and vitality; if it be dramatic, attempt to impersonate the characters concerned; if it be devotional, recite with dignity and devotional quality. Finally, when both words and music are well in the mind, if possible with an accompaniment, but certainly standing, sing the song. Sing, making a compromise between the strict rhythmical value of the notes and the demands of the sense of the words. Keep the general outlines of the music so far as phrasing and rhythm are concerned; but whenever a sacrifice must be made, sacrifice the musical value and emphasize the emotion, the meaning, the poetry, the dramatic or narrative significance of the words. Phrase with this end in view; sacrifice anything except tone-production to this end. Do not distort the rhythm, but bend it sufficiently to emphasize important words and syllables, by holding them a little, at the expense of unimportant words or syllables. Finally, remember that misguided enthusiasm is not interpretation.

No real interpretation is possible without a full comprehension of the meaning of both words and music. Study the voice. Study its possibilities and its limitations. Study music until the musical element of difficulty is reduced to a minimum, and until the character, style, and traditions of the various song forms are well within your grasp. No matter how beautiful may be the voice, or how well placed, no amount of enthusiasm or temperament can atone for a meaningless or unintelligent treatment of the intellectual, emotional, and musical characteristics of the song as a whole.



SUPPLEMENTARY NOTE.

The tendency of many is to raise the hands and arms too high; the hands should not be raised above the waist-line. If raised too high, the energy is often put in the action of the arms instead of the body; or the upper part of the body only is moved, and thus the most important effect or influence for power and control is wanting. The action must be from the hips up, and not only from the hips, but the hips must act and expand with the body. Remember the center of gravity must be at the hips. If it is found that the tendency is to raise the hands too high, then try or study the action as follows:

Place the hands upon the hips, and when coming into action, when seeking the level of the tone, or during the act of singing, see that the hips expand freely and evenly with the body. This should be tried and practiced frequently by all in order that the movement may be from the hips up and not above the hips only. When the hips are thus brought into action, the abdominal muscles and the diaphragm are strengthened, and their position and action are correct. When the upper part of the body only is brought into action the position of the diaphragm and abdominal muscles is often weakened. Remember that the basic law or foundation principle of our whole system of movements is movement from the hips up, including the action or expansion of the hips in connection with the movements of the entire body.

THE END